Freeman Thomas Is The Mastermind Behind The Audi TT

Industry IconsCars
Written By Joshua Brock

A major part of Freeman Thomas’ design philosophy is storytelling. He always finds creative and subtle ways to ingrain echoes of days gone by into his projects. Don’t be mistaken. This isn’t outright retrofuturism. Thomas incorporates automotive history as well as his own life experiences into his cars to give them a level of approachability and familiarity that is noticeably absent in today’s industry.

Freeman Thomas was born in 1957. His father served in the US Air Force as an air traffic controller, so Freeman spent much of his youth in Spain, Norway, and Greece. After his father fulfilled his tour of duty, the Thomas family settled in Cypress, California. Freeman began sketching from an early age and even won a drawing competition while he was in the first grade. 

His burning passion for cars was also kindled around this time. He happened to live a few houses down from Jeff Zwart, who would go on to become an acclaimed director, photographer, and author. Both of Zwart’s parents were Porsche fanatics. His father had a 901 while his mother drove a 356, and that enthusiasm trickled down to their son. Jeff and Freeman became fast friends and bonded over their fascination of the brand. They spent whatever free time they had car spotting around town on their Stingray bicycles. They were especially taken by a neighbor’s silver 911. The two of them found a spot to stake out and watched as its owner drove home from work in the evening. 

A career in car design seemed all but guaranteed, but Freeman wasn’t sure what his future held after he graduated from high school. He decided to follow in his father’s footsteps by serving as a flight-line fighter in the Air Force. The four years he spent in Europe bolstered his cultural sensibilities, but he was still very much trying to find his way. 

That would all change one day as he was leafing through an issue of Road And Track. He came across an article about Art Center College Of Design. The piece may have only been a few pages long, but it may have changed the trajectory of his life. He elaborated further during an interview with Hagerty. 

“I had no idea you could earn a living drawing cars, so I got the address and went up there, and it was a revelation—like finding your home. I said, ‘God, I’ve got to get in here!’ I didn’t have a portfolio. I had no art or design training at all. So I took a night class in industrial design to build a portfolio, and during those three months, I worked like a madman because I wanted to get in so bad.”

He had the talent and work ethic to get in, but finances were another matter altogether. Fortunately, he was able to win a scholarship from Ford that paid for his tuition. He flourished under the watchful eye of design heavyweight Strother MacMinn and quickly established himself as a standout student. He was one of the most sought-after graduates in his class, but he could only see himself working for one company; Porsche. Those feelings went the other way around, funnily enough. The company actually tried to hire him before he finished his education. He wanted to take that offer, but an instructor persuaded him to earn his degree.

PORSCHE

He graduated in 1983 and stepped right into a senior design position at the company’s studio in Weissach. It was frustrating at times. He was so close to the cars that were such an inspiration to him, yet he couldn’t own one himself. He hardly got by, in fact, even in his supervisory position. But this job was about more than money. Freeman Thomas had the chance to contribute to future iterations of the 911 and learn from Porsche veterans.  He went through how the car shaped his professional worldview in an interview with RoadandTrack.

“What always stuck in my mind was the purity—its size, the incredible visibility you had inside, how serious it was. That's what drew me to Porsche—this kind of serious engineering approach that was about function and purpose. The sound of the car was one of those things that … you just wanted more of.

It became a philosophy. In a sense, I cut my teeth as a car designer on the 911. Everything goes about with a very German approach. You start to look at the headlights. What's the function of the headlights? What's their purpose? And Ferry Porsche said that, you know, it's very important that the fenders have a vision point, so you can tell where their ends are. And that became the headlight.

But then there are parts that defy … normal engineering. Because that Porscheness was so powerful, it became a hugely important thing to preserve. To let technology be the tool with which you tame the animal.

Because they really were infatuated with the 911, Helmuth Bott and his team pushed the engineers to package everything. When you sit inside a 993, the original cabin size is preserved. I think the 996 was maybe a step too far, but they realigned it with the 997.

They said, okay, we took it too far, and the customers, although they're buying the car, they're not keeping it. And that's important, because you don't only want the first owner to want it. You want the next person to dream of it just as much.

You have to look at it like an onion. As you slice deeper into the 911, it gets more interesting, and you want to learn more about it. It's the magic of the men, from Mezger to Butzi to Komenda, and every person since who has helped preserve it. When Peter Schutz came in, he shared his passion to preserve the car, and it gave Bott the ammunition to create the 959, 964, 993, and so on.

I can tell you that when those projects were running in the studio, everybody wanted to be a part of them. When the front-engined cars made their way through the studio, there was obviously professional passion. But it wasn't the personal, emotional type, where you're willing to stay weekends, extra hours, just because you have the honor of being able to work on this thing.”

He didn’t just design cars during his time in Germany. He designed a line of forklifts for German chemical company Linde AG. These had more of an emphasis on style than others, and this was best seen by a reverse curve along the back of the cab. Forklifts are tools first and foremost. The company was unlikely to spend the resources to apply the extra flourish. Some of his colleagues weren’t sure if they were even going to be approved. Linde did accept them, and in time they found that the value of good design was more than skin deep.

The cold-starting issues that Linde forklifts were marred by weren’t present in the new line. This befuddled the company, as the parts themselves weren’t changed. Linde launched an investigation and found that the drivers were parking them inside at the end of the workday. They took a liking to them and went the extra mile to take care of them. 

Freeman Thomas left Porsche in 1987 and became a bit of a wildcard. He established a design consultancy with David Weston and Tom Kellogg. His duties at the firm were varied and even included continued contributions to Porsche models. Thomas also picked up work on the side. He taught classes at his alma mater, wrote articles for Sports Cars International, and designed the Panoz Roadster. 

AUDI

He joined the ranks of another German automaker in 1991. This time, he wouldn’t have to leave the comfort of Southland. The year prior, Volkswagen opened a design studio in Simi Valley in response to floundering sales in the States. Thomas worked closely with chief designer J Mays.

This tandem resulted in some of the most iconic cars of the late 90s, including the Volkswagen Beetle and Audi TT. Both are watershed moments in automotive design and worthy of extended discussion, but I’ll touch on the TT here and save the New Beetle for a later video about retrofuturism as a whole.

After years of merely getting by in the industry, Thomas finally made his mark with the TT. The story begins in 1994. Thomas drew it while having a conversation with Mays. Development was fast tracked from there. When the project officially got underway, he managed to create formal proposals in a span of just two weeks. He also took pains to ensure that that the design wasn’t diluted by interference from engineering and marketing, telling them that it would be more important to keep the car pure rather than save a few pennies or squeeze a few more miles out of it. 

The Audi TT Concept debuted at the 1995 Frankfurt Auto Show. The styling doesn’t directly reference a particular model. Rather, it evokes memories of the brand’s past life as Auto Union, when they were known for their pre-war racers as well as their post-war road cars. An Auto&Design Magazine excerpt from the time period sums up how they inspired the TT far better than I ever could. 

Audi TT. Audi Media Center

To follow the heart and not just the head then, in a 2+2 of modern design with the odd flash and reminder of the past. The high beltline observes an Audi philosophy born in the tall mass of the engine unit and the consequence of a desired contin-uity with the movement of the bonnet. The intention of pushing the car roof downwards, with a bowed, almost inset dome shape that minimises the lateral glazed surfaces, further emphasises the tall slabs of the flank, communicating safety and protection, but also a certain armoured-car feel. A characterisation that, in unison with the colour of bodywork and interior, as well as the presence of some details (such as the grille inspired by racing Auto Unions of the 1930s) stipples over a frosty Teutonic look. A totally serious formal approach, nearing the style of the Bauhaus, with each line justified by its function, the obverse of the toy or cartoon car. The Cd is estimated at 0.34.

The Audi TT also had a star-studded interior design team, consisting of stalwarts such as Peter Schreyer, Martin Smith, and Romulus Rost. It took the minimalist nature of their race cars in stride, but the cockpit also made strides of its own. The seats, for example, were inspired by baseball gloves. Rost was taken by how a baseball was contained and held firmly in place by the glove, becoming one with it.

CHRYSLER

Freeman Thomas left Volkswagen for Chrysler in 1999. His hiring was due to the retirement of Neil Walling. Thomas took over his responsibilities was head of future product design while Chrysler’s own Trevor Creed stepped up to oversee passenger car and minivan design. 

This was only a year after the DaimlerChrysler merger, and the different cultures were struggling to coalesce. That’s where Thomas came into the equation. His time in Europe, both as a child and as an adult, gave him a valuable and well-rounded perspective that few other designers could claim. Daimler-Chrysler took this into account along with his California background and thought that he was the missing link in the equation.

He took a liking to the company’s structure. Design, engineering, and marketing are integrated in the product development process from the very beginning. This approach to product development helps keep problems from cropping up later on in the cycle.

Thomas only spent a few years in Auburn Hills before heading west to oversee Chrysler’s Pacifica Advanced Design Studio in Carlsbad in 2002. This was also the year that he received an honorary doctorate from Art Center, becoming one of the few alumni to receive the honor.

The Dodge Super8 HEMI was one of the major projects that was developed during his tenure at the company. It utilized what they referred to as “passenger priority design” where interior ergonomics took precedence over exterior styling. The seating position within the vehicle is higher than a typical sedan in order to give passengers a more commanding view of the road. Those in the rear of the car sat even higher, which created an atmosphere not too unlike an ampitheater. The removal of the B-pillar opened up the interior even more.

Many of the principles showcased here would be referred to again when the company developed the LX-based 300, Charger, and Magnum. I’ve gone through the development of those cars in an article about Ralph Gilles, so if you want a more in-depth look at them then click HERE.

FORD

Freeman Thomas jumped to Ford in 2005 and was named their Strategic Design Leader. They weer hoping that he could help rejuvenate their passenger car line. Specialty cars like the Mustang and GT captured the hearts of the public, but mainstream products like the Five Hundred as well as the entirety of Mercury failed to inspire the same sense of wonder. Those on the outside looked favorably on the hire. On the Monday that the hiring was announced, Ford shares rose 11 cents on the New York Stock Exchange.

Thomas’ duties here were similar to those he had at Chrysler, but here they would be increased significantly. He and his team at Ford’s design studio in Irvine were tasked with predicting market trends 15 years in the future. But that wasn’t all. The team would also collaborate with engineers and product experts on production cars to be released in the near future. This was also in the midst of the company’s Premier Automotive Group experiment. As a result, they would have to contribute to North American variants of offerings from Volvo, Land Rover, and Jaguar. If that wasn’t enough, Thomas would also have to supervise the advanced design studio in Dearborn.

Ford unveiled two cars at the 2007 Detroit Auto Show: the Interceptor and the Airstream. Let’s start with the Interceptor.

It furthers the philosophies first introduced with the Super8, with its high beltline, nostalgic focus, and emphasis on performance. This, in my humble opinion, is an infinitely more successful application of those principles. Whereas the Super8 skimped on aesthetics in favor of practicality, the Interceptor concept was able to blend them together into a more cohesive overall package. 

The car is a throwback to sedans of the 60s, and it uses a few tricks in order to look more imposing. Everything on the front end stretches out horizontally. The lower clip, grille, and headlight are the most obvious bits. The turn indicators are wedged right between the lamps and continue the momentum of the grille inserts. These flow right into the panel gaps and bring them into the conversation. The Interceptor sports a version of the tri bar grille that was part of Ford’s design language, but it’s more than a mere flourish here. The grille is integrated into the bumper bar, transforming it into a structural piece.

You may have taken note of the rounded squares and rectangles. Ford calls them squircles and the motif is present in the lighting units as well as in the overall form language. They give the car an edge while still allowing for a certain level of approachability. The car was never intended to see production, but bits and pieces made it over to the 6th generation Taurus… with varying degrees of success. 

The Airstream, meanwhile, was Ford’s response to the growing popularity of crossovers. It was the 75th Anniversary of Its namesake. The legendary Airstream name isn’t just tacked on. The team worked closely with the company in order to bring the car to life.

Its monospace architecture and polished aluminum exterior are a few of the callbacks. It had its own legs to stand on as well. The Airstream doesn’t have a conventional power train. Instead, it is powered by hydrogen fuel cells, well, it’s a bit more complicated than that. The cells charge a lithium-ion battery pack. This, in turn, powered electric motors that actually moved the wheels. The lack of an engine meant that the car didn’t need a standard grille. It has a distinguishing mirror finish that is yet another link to Airstream. 

Access into the car is another topic of interest. The driver enters through a conventional door, but those coming in from the right side enter through a massive two-piece clamshell door. The difference in doors means that the windows on both sides of the car are different. This is a rare example of asymmetry in automotive design.

The bright orange shade is inspired by Chuck Yeager’s Bell X-1 high altitude rocket that is on display at the Smithsonian. It acts as more of an accent on the outside, lining the edges of the windows. The color dominates inside. Designers said that they were inspired by the spaceship from 2001: A Space Odyssey. The Freeman Thomas trait of interior connectivity repeats itself here. There isn’t anything separating the driver from those in the back. The front seat also swivels backward, further reinforcing the Airstream’s social dynamic. Lastly, there is a large 360-degree screen that can either play ambient animations or be used in conjunction with the onboard gaming system.

R-GRUPPE

Freeman Thomas may have left Porsche in 1987, but he didn’t leave his passion for the brand behind. In 1998, he was perusing an issue of Porsche enthusiast magazine Excellence when something caught his eye. It was a ‘69 911 that was owned by Cris Huergas. This wasn’t just any 911. In 1967, the company released a competition-spec version of the car called the 911R. They only produced 20 of them, so to satiate those that missed out on the limited run, Porsche released manuals instructing owners of standard models how to make 911Rs of their own. Huergas used this as a jumping-off point to create something that was entirely his own. This build intrigued Thomas, so he got in touch with Huergas. Not long after this, the two of them established R-Gruppe.

Rain in San Francisco Bay. Porsche Newsroom

It began with 13 representatives. The first member number was posthumously awarded to avid Porsche enthusiast Steve McQueen. The group is dedicated to the preservation and personalization of early Porsche 911s.

Thomas went into what separated them from similar organizations in a 2010 Automobile article.

"The first ingredient was sports purpose -- cars that can be driven on the track on weekends and on the street during the week. Second was the SoCal hot-rod thing -- if it looks right, it is right. The third element was the Steve McQueen attitude -- great taste and the cool factor. We're not about screaming. There's a discretion that characterizes an R Gruppe car. It's about delivering more than it promises."

The things that set it apart also made it a bit of an odd duck in the Porsche community. The article continues.

“To the august Porsche Club of America, R Gruppe is populated by a bunch of yahoos with no respect for tradition. To the hard-core racers who dominate the Porsche Owners Club, R Gruppe is full of poseurs who'd rather look fast than go fast. To early 911 aficionados who haven't been invited to join the club -- membership is limited to about 300, and members are booted if they don't continue to measure up to unspecified standards -- R Gruppe is a gated community reserved for arrogant snobs. To high-dollar collectors, R Gruppe provides a prescription for replicars and fakey-doos that cost more to build than they're worth on the open market.”

Despite this, it remains one of the most exclusive groups in the Porsche community.

RUF

Freeman Thomas stepped down from his position at Ford in 2017 and most people in the industry thought that he was taking an early retirement. This couldn’t be further from the truth. After spending over 15 years climbing the corporate ladder at major automakers, he simply wanted to tackle another set of challenges. 

To start, he traveled to Pfaffenhausen, Germany to help Porshe performance house RUF develop modern interpretations of the CTR and SCR. At first glance, the cars appear to be modified G-Series 911, but they're actually built upon bespoke carbon-fiber tubs. Thomas revealed that they had an unusual development process. Cars are usually designed from the inside out. That is to say, designers have an understanding of the package before getting on with any serious problem-solving. With these cars, the exterior package was developed first and the carbon fiber tubs were designed to fit inside of it. It was imperative that the cars get as close to their reference dimensionally as much as possible. They ended up a few inches longer than their predecessors, but it was all in the wheelbase. They also gained 6 inches in width. Thomas didn’t want this, so in order to mask this, he width of the door panels were increased. The cars arew destined to be a rare commodity. RUF plans on building 50 examples of the CTR and will also only construct 15 copies of the SCR annually.

MEYER MANX

In December of 2020, Freeman Thomas was named CEO of Meyers Manx. The iconic dune buggy manufacturer had been under the control of Bruce Meyers since it was established in 1964. He was going on 94 years old and couldn’t expend the resources needed to oversee operations. The company was sold to Phillip Sarofim of Trousdale Ventures and relocated to Oceanside, California. Here, they have a team of designers, fabricators, and builders developing the next generation of dune buggies. Thomas did an interview with RoadandTrack not long after the transaction, and while he couldn’t divulge too many details of their future plans, he did say that the road ahead would definitely involve battery electric power.

Thomas really has done a bit of everything in his career, from contributing to the Porsche 911 and changing the narrative of Audi in North America to holding leadership positions at two of the Detroit 3 and reimagining motoring masterworks from days gone by. And he’s been able to make an impression on both his companies and his colleagues. Freeman Thomas has ingrained a bit of the past in every one of his projects and is definitely an industry icon!

Joshua Brock
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