在设计场景动态化、设计对象智能化和设计研究协同化这三大背景和趋势下，关于可展结构、可编程材料、响应式设计等关键词的需求和研究层出不穷，逐渐汇聚形成了设计形态学视角下的“跨介质可部署形态”这一交叉学科研究论域，本研究从属于当代设计学与工程交叉学科的前沿方向。目前，对于跨介质相关的研究多局限在飞行器设计和仿生学领域，在设计学领域还较罕有针对跨介质情况下形态设计策略的深入探讨；另一方面，不同学科对可展结构、智能材料、3D打印等细分领域的研究虽然已经较为丰富，但多是针对机构学、材料学、仿真模拟或自动化控制的科学研究，知识结构相对垂直且具体，而今面对科学艺术交叉学科基础教研的需要，现有成果缺乏相对宏观的知识架构和对部署过程的系统性设计策略。为回应这些问题和挑战，此论文研究内容包括：立足于设计学，通过广泛而深入的文献调研和项目案例总结，提出了指导创新模型“三因五蕴∞”—— “三因”代表外因（介质有无、介质变化）、内因（材料、结构、工艺）、启因（自然形态、人造形态、智慧形态）；传统的“五蕴”概念来自于佛教，表达人类对世界的观察、认知、理解、交互等过程，本文中定义的新“五蕴”代表色（形态）、受（感知）、想（逻辑）、识（决策）、行（行动）；“∞（无限符号）”代表交叉学科知识和广阔的应用场景。本文提出的创新指导模型尝试以“形态”作为媒介来建构立体的知识图 谱，意在用多视角、全过程、动态性的方法来指导跨介质可部署形态的创新设计；结合该指导模型，本研究重点开展了三个项目实践，水热响应可部署形态研究（TransHeat）、机械臂4D凝胶悬浮打印设计应用（TransGel）和瞬态折展月球车设计应用（TransVacuo），进一步测试和验证了该模型的可执行性，有助于提升对本课题研究的系统化思考与设计能力。这篇论文包含以下三项主要创新点：①为智能化对象更好地服务于变化的环境提出了策略（“三因”）；②为动态化场景提供了可部署形态设计方法（“五蕴”）；③提供了一种新的系统化创新指导模型（“∞”），为日后科学艺术交叉学科的基础教育提供了可执行的模型方法与案例参考。

In the backdrop and trend of dynamizing design scenarios, intelligentizing design objects, and fostering interdisciplinary collaboration in design research, there has been a growing demand and exploration surrounding keywords such as deployable structures, programmable materials, Morphing Matter, and responsive design. These converging interests have gradually coalesced into the interdisciplinary research domain of Trans-medium deployable morphologies” from the perspective of design morphology, repre-senting one of the forefront directions in contemporary interdisciplinary studies bridg-ing design and engineering. Currently, research related to “Transmedium” is mostly confined to aircraft design and bionics, with relatively rare in-depth exploration on morphological design strategies under transmedium circumstances within the design discipline. On the other hand, di-verse disciplines have extensively researched deployable structures, intelligent materials, 3D printing, and other specialized fields. However, these studies predominantly focus on scientific inquiries in mechanics, materials, simulation, or automated control, with rela-tively narrow and specialized knowledge structures. Faced with the increasingly vital need for interdisciplinary foundational research in scientific and artistic intersections, existing achievements lack a comprehensive macroscopic knowledge architecture for “Transmedium deployable morphological design” and systematic design strategies and dynamic descriptions for its deployable processes. In response to these challenges, this thesis proposes the following research contents: rooted in the perspective of design, through thorough literature review and project case summaries, an innovative design model termed “3 YIN 5 YUN ∞” is introduced. “3 YIN （Causes）” represents External Causes （presence or absence of medium, medium change）, Internal Causes （materials, structures, fabrication）, and Inspiring Causes （Nat-ural form, Artificial form, Intelligent form）. The traditional concept of “5 YUN” origi-nates from Buddhism, it expresses the process of human observation, cognition, under-standing and interaction with the world. In this thesis, the new “5 YUN” represents SE （form）, SHOU （perception）, XIANG （logic）, SHI （decision-making）, and XING （ac-tion）. “∞ （Infinity）” symbolizes interdisciplinary research and the potential an-ti-disciplinary applications, aiming to bridge knowledge maps across different disci-plines and application scenarios through morphology as a medium. The goal is to guide innovative design of transmedium deployable structures from multiple perspectives, ho-listic processes, and dynamic angles and levels. Combined with theory, this study con-ducts three case practices: hydrothermal responsive deployable morphology study （TransHeat）, zero-gravity robot arm 4D printing design application （TransGel）, and transiently unfolding lunar rover design application （TransVacuo）, further validating the feasibility of the model and enhancing systematic thinking and design capabilities for this research topic.This thesis embodies the following three main innovative values: ① proposing strategies for better serving intelligent agents in changing environments （“3 YIN”）; ② providing methods for dynamic scene design that can respond to and deform （“5 YUN”）; ③ offering a new systematic innovative design model for foundational research and learning in interdisciplinary scientific and artistic directions, providing model methods and case references for future interdisciplinary education （“∞”）.