AI Projects

Grow Platform

a Bosch company
Ludwigsburg 2017

The grow platform GmbH is a company of the Bosch Group. It is Bosch’s internal incubator platform for start-ups and intrapreneurs. Currently, the grow platform portfolio includes more than 250 intrapreneurs worldwide. Companies such as triffix, Deepfield Connect, Remotion, My Scott, and Urbanmates, to name a few, have successfully emerged from the platform. 


The relocation of the grow platform in 2017 to new, more spacious premises was the starting point for the collaboration with freeters. 


Together we developed a variety of spatial concepts, usage scenarios, tools, furniture, and architectural interventions for the hall that covers over 4,000 square meters. At its core, we created five crystallization points, in the sense of five sculptural space-in-space solutions. These stand out in contrast to the usual office routine and the corresponding standard furniture and at the same time form specific anchor points, both visually and in terms of use. These anchor points are complemented, dynamically surrounded, and brought together by a spectrum of accents, furniture, and design approaches that are reflected, in particular, in the foyer and the several meeting rooms around the basement. 

Where do artists get their ideas?

Interview with Johannes Hess, Artist at freeters

Anyone who deals with growth or development, and particularly with man-made developments, will come across this question sooner or later: Where do these ideas, brainwaves, and strokes of genius come from? Or: Under what circumstances do I have good ideas and when not? Is there fertile soil, conducive circumstances, or even a recipe for this?
As a start-up campus for Robert Bosch GmbH, grow is an institution that is often confronted with these questions. After all, a start-up campus is the place where entrepreneurs and engineers develop ideas, which in the best case do not even exist on the market yet. But firstly, there need to be ideas.

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Johannes Hess and Sebastian Keller, 2018

Anyone who has ever set out for new shores knows that it first has a lot to do with the unknown and unfamiliar. For the new areas to be opened up, the paths must first be found. This is not only the case physically – habits of thought also have to be broken in order to establish something new. Basically, this is an original artistic motif. This “spirit of departure” ignition spark tries to give expression to this “mood of departure”, insofar as there is nowhere a vertical or horizontal surface or edge. Even the right angles we are so familiar with are searched for in vain. Each surface and each edge appears in a different way. Even the right angles we are so familiar with are searched for in vain. The formal recognition value of horizontal and vertical is nowhere given. Thus, one’s own positioning or alignment must first be original. The oblique alignment of the walls, and in particular surfaces that cannot be clearly designated as walls or ceilings because they are located in an intermediate space, even provoke alignment with the user’s own individual fixed point. A hold from the outside can only the clarity in which this principle of the “undefined space” is implemented. Almost crystalline, the different surfaces are clearly placed next to each other. The whole is underlined by the mirrored outer skin of the object. The reflection offers little clue of its own, it reflects the light and plays virtually as well as visually with its surrounding space. For me this space is essentially born of these sculptural or spatialartistic design principles.

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Inner Circle

Paul Jonas Petry, 2018

Motivically, two basic gestures form the basis of the design of the “Inner Circle”.


Its environment, the fixtures, the building itself, the surrounding buildings are shaped in a bearing-like manner, and lying spaces characterize the image. Only the sloping roof elements break the orthogonal structure. On the other side of the content level, there is a strong visionary character: the work of the start-up companies. It rather describes the vertical gesture of form. The movements intersect with the floor space of the room.


“It’s about bringing visions from the mental world of ideas to the floor, bundling them and giving them form. From these two points of view I have developed the “Inner Circle”: In contrast to the orthogonal, bearing structure of the enclosed space, the wooden body presents itself as a round skin that plays around the upright, a clear inside and outside, top and bottom emerges.” The “Inner Circle” consists of 336 upright building planks, each 480cm long. 112 of them are 25cm wide, 224 are 6cm wide, held by one multiplex ring each at the top and bottom. The individual elements are screwed together with approx. 3000 screws. The doors come from an old farmhouse in Bornheim / Rhineland, built about 1910.

This is not a pipe

Michael Sistig, 2018

The object, space or sculpture “This is not a Pipe” is inspired by the aesthetic observation of a half-pipe. The simple joining of two halves results in a whole, purely mathematically and logically. But because of the simplicity of the perspective rotation of the half-pipes and the joining of the riding surfaces, a space is created. The outer facade reflects and distorts the image of the sculpture’s surroundings and thus becomes part of the sculpture. This means that it is not the real image that is part of the sculpture, but the perspective, mirrordistorted image. Here, the real image transitions into two-dimensionality. Similar to René Magritte’s painting “Ceci n’est pas un Pipe” or “This is not a Pipe”, he painted the pipe to demonstrate that the realistic image of an object is not itself identical with the object. You can’t smoke or plug this pipe of Magritte’s. In the same way, you can’t ride the halfpipes.

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