TFW You "Landline" Your Phone

Why we're using a shared nostalgia for the corded phone to free us from our screen-time obsessions.

About a year ago, Lauren Czajka stopped carrying her phone with her from room to room. A nonprofit executive working in the teen mental health space, she was acutely aware of the problems that smartphones cause—depression, sleep loss, lower cognitive performance. But while reading the book Stolen Focus, she learned just how much our attention spans are diminished by our devices and decided to change her relationship with her digital appendage. There was one problem, though: Her young kids would find her phone wherever she left it and would bring it back to her. They were trying to be helpful. "It breaks my heart that they see it as a problem when I don't have my phone," she says.

Czajka’s longtime friend Kate Trey came up with an idea: a coiled phone charger that’s an homage to the kitchen landline she grew up with that would require walking to a set location in your home to use your phone. Czajka made a model out of a pizza box for a wall mount that would attach her phone to a charger using a long, loopy wire; several prototypes later, the cardboard prototype became Coilie, a silicone-coated aluminum perch for your smartphone that turns it into a "landline" by tethering it to the wall. It’ll formally launch on Kickstarter later this summer in a variety of bright, throwback colors.

Czajka and Trey are part of a growing movement of "landlining" smartphones to curb our addictions to devices while at home. Partially driven by a nostalgia for the corded phone, the idea to dock your smartphone has been making the rounds on social media, solidifying the trend of turning one’s everywhere-all-the-time phone into an old-school landline. On Instagram, Laura Ambrosia, who runs a wellness retreat in Sacramento, posted a video of her "landline" system that’s meant to set a better example of boundaries for her children; Tiffany Ng, author of the blog Cyber Celibate, posted a video of homemade landline experiments, using pearl strings and climbing rope to hang a cellphone from a wall peg. (Each received more than 32,000 likes and 10,000 likes, respectively.)

Coilie’s founders note that when they began sharing their product’s website they hoped to get 1,000 pre-orders in the first month. They quickly surpassed 4,000. "People want this product, they want to buy it, they want to be able to hang up their phones," Trey says. Oddly, tethering our phones reflects an expanding desire for freedom from them; of course, a slew of new apps that turn your phone into a "dumb" device, blocking social media but allowing calls and texts, is another option.

For interior designer Ryan Shand, unplugging from your device is as much a design problem as it is one of self-control. "I believe that our homes pave the way for our nervous systems, and how we’re able to show up in a space and our environment can alter the way that we feel," she explains. Shand, who co-owns Shand Design with her mom in Santa Barbara, recently shared her personal home phone solution on Instagram: Instead of opting for a wall-mounted charger, she stores her cell in a 1920s brass wall planter when she gets home from work. Having a specific place that the phone lives creates what she calls a "landing zone"—a design principle with a calming effect that she encourages for her clients’ homes, too.

Shand recommends spaces near an entryway or in a common area, places where we might store keys or wallets. Placing your phone in its "home" or perch transforms it from a mobile device to a landline and stops that panicked feeling of "where’s my phone" when it’s not immediately in reach. "People then have a connection to where something might be, especially because we are designing quite large homes," she says. If your home is your sanctuary, can you really relax after a long day when your obligations are immediately accessible? Shand doubts it. The landing zone instead affirms the home’s purpose as a haven, putting hard boundaries around what is required to actually unwind.

Both Shand and Coilie’s founders are parents to young kids and mentioned the struggle to model better behaviors toward technology; such skills aren’t easily communicated to children who grow up watching their parents scroll, text, and check emails all day. "We were not the generation that made smartphones and got us all addicted, but it’s up to our generation to solve that problem and establish what is appropriate behavior for smartphone usage," says Trey. Some parents are opting to literally bring back the old apparatus: Artist Andy Bellomo has thought about getting a landline after years of being "swallowed" by her cell. With a four-year old daughter who was rapidly making new friends, Bellomo purchased a Tin Can—a screenless, internet-enabled device that allows kids to call other Tin Can phones for free.

Lauren Czajka and Kate Trey developed a smartphone dock called Coilie to create boundaries around usage at home.

Lauren Czajka and Kate Trey developed a smartphone dock called Coilie to create boundaries around screen time at home.

Rendering courtesy of Collie

When Bellomo’s family got the Tin Can, she and her partner realized they had to train their daughter in phone etiquette—though many parents of young kids might have grown up watching their parents answer the phone and hold long conversations with friends and family, these practices aren’t always modeled for today’s kids. "We taught her how to say hello, how was your day, and what are you doing; now she practices that and the conversations are interesting," says Bellomo. She adds that her daughter has learned how to listen to others and to wait for pauses in the voice on the other end before adding to the conversation—a type of mindfulness that requires attention to others’ verbal cues without seeing faces. Her daughter also learned that conflicts can be resolved over the phone.

It’s extra parenting, for sure, but Shand says that the mythology of design is that it is always used to make something difficult easier—but that is precisely what got us hooked on smartphones in the first place. Landlining our phones might add a little friction to the now-seamless act of picking up a call or responding to a text. But that friction could make our lives infinitely better.

Top photo by Harold M. Lambert / Getty Images

Related Reading:

30 Low-Tech Accoutrements for a Screen-Free Summer—Including Outdoor Furniture, Lighting, and More

An Entire Wall of Screens Opens This Australian Beach Home to Its Breezy Setting

When deployed, they make the residence feel more like an airy pavilion.

Houses We Love: Every day we feature a remarkable space submitted by our community of architects, designers, builders, and homeowners. Have one to share? Post it here.

Project Details: 

Location: Moffat Beach, Australia 

Architect: Arcke / @matt_arcke

Footprint: 807 square feet 

Photographer: Christopher Frederick Jones / @christopherfrederickjones

From the Architect: "This compact home sits behind a commercial property, an adapted old fibro and tin roof beach shack, which is typical of the building type in the area. We styled the project’s high, pitched roof and clerestory windows as a nod to this ’50s and ’60s era architecture.

"Defined by the north-eastern elevation’s operable slatted screens, the house can be opened up to the prevailing breezes and filtered light, or closed to provide privacy and security. The design fosters intimate nooks for private moments as well as open living spaces for entertaining. The entertaining area can accommodate a large crowd around the barbecue and into the garden, and the  indoor dining table can seat eight.

"The weather in subtropical South East Queensland is pleasant most of the year and lovely on warm summer evenings. This livable weather is central to our aesthetic, and we tend to make little distinction between interior versus exterior design in our projects. Wherever appropriate we use textures, materials, and colors that sit comfortably both indoors and outdoors creating a cohesive, integrated whole. Here, the thermally modified timber battens used on all the screens were fabricated on aluminum supports. The natural rosewood timber doors and windows formed the basis of the color palette. Adding plywood joinery to the interiors and cooling green tiles set against crisp white brings the feel of the natural world indoors.

"Often our design choices result from choosing sustainable materials. Zincalume and pale concrete complement the simplicity of stainless-steel fixtures and fittings, all of which are more resilient in the coastal environment. Similarly, copper outdoor showers won’t corrode and the showers keep the sand at bay when returning surf boards from the beach.

"The Sunshine Coast is known for high rainfall, and is hot and humid in summer, so keeping well ventilated to stop moisture ingress is very important. High ceilings and louvre windows channel hot air out of the home and optimize cross-ventilation, supplemented by efficient ceiling fans to increase airflow.

"The large garden was also designed for local weather. Since hard surfaces create heat sinks, the outdoor space has limited concrete or paving. The driveway and parking area is grass paving, a permeable surface that allows grass to grow through it, reducing heat and letting water seep into the earth. The garden plants have been chosen to tolerate high moisture with a focus on native varietals to attract birds and wildlife.

"Aging in place was also an important consideration for our semiretired clients. The home is compact, easy to maintain and clean, safe and secure, almost step-free, and designed with generous circulation space."

Photo by Christopher Frederick Jones

Photo by Christopher Frederick Jones

Photo by Christopher Frederick Jones

See the full story on Dwell.com: An Entire Wall of Screens Opens This Australian Beach Home to Its Breezy Setting

Before & After: Pops of Green and a Sunken Sofa Bring an Alpine Home Back to Peak Condition

Through subtle updates, Studio Classico and Chapitre restore an ’80s stone residence originally designed by Alain Amédéo in the French countryside.

The original upstairs cabinet was refinished, and new cabinets in the kitchen were designed in the same Beech wood with a cinnamon-colored oil to be consistent. The vertical detailing earmarks that they are new insertions.

This house nestled above the hilltop village of Dauphin, in the Alpes-de-Haute-Provence region of southeastern France, is easy to miss. About a 90-minute drive from Marseille, it’s located off a narrow country road that leads to hundreds of acres of woods and hiking trails. "You can’t see the house from the village," says architect Antoine Lallement. "And the road is not that comfortable to drive." By the time the property reveals itself, with a main house, a guesthouse, and a pool tucked into a steep hillside, "It’s kind-of a surprise," he adds. 

In 2023, architects Suleïma Ben Achour of classico studio and Antoine Lallement of Chapitre were hired by a Belgian writer to remodel his property in Dauphin, in the Alpes-de-Haute-Provence region of France.

In 2023, architects Suleïma Ben Achour of Studio Classico and Antoine Lallement of Chapitre were hired by a Belgian writer to remodel his property in Dauphin, France.

Courtesy of studio classico

The 1980s home was originally designed by Marseille architect Alain Amédéo, in a style that combines traditional Provençal character—thick cement, stone walls, and a tiled roof—with modernist underpinnings. "We call this régionalisme critique," says architect Suleïma Ben Achour. "In English, it would be critical regionalism."

The style emerged in 1977 in opposition to cookie-cutter globalization and kitschy revivalism. "It’s a movement that incorporates modernist architecture with a vernacular vocabulary," explains Ben Achour. In this case, the home is sited on the shelf of the hillside, its thick stone walls pierced with large windows framed in thin green metal.

Before: Annex 

Before: The architects appreciated and preserved the home's original details, like the thick walls and green metal windows. This building had a garage with a lot of unused space.

Before: The architects appreciated and preserved many of the home’s original details, like the thick walls and green metal windows.

Courtesy of studio classico

In 2023, the two architects—Ben Achour runs Studio Classico in Paris, while Lallement founded Chapitre in Marseille—were invited to the house by the owner, a Belgian writer, for a kitchen remodel. "It was tiny in comparison to the rest of the house," says Ben Achour. At the time, the owner was interviewing multiple architects, and he asked the pair to deliver a proposal summarizing their approach.

Ben Achour and Lallement suggested maintaining Amédéo’s approach, and incorporating changes that share the same "vocabulary," while keeping them distinct from the original home. "We use the word ‘affiliation,’" says Lallement. "It’s not about making a copy of the original, or giving the impression that everything was built at the same time." Adds Ben Achour. "We don’t build against the architecture, but we try to make our interventions blend in."

Before: Annex Garage 

Before: The owner wanted to convert the smaller 130 m² building into an artists' residency, and the garage was transformed into a studio.

Before: The owner wanted to convert the smaller 1,399-square-foot building into an artists’ residency with a studio.

Courtesy of studio classico

See the full story on Dwell.com: Before & After: Pops of Green and a Sunken Sofa Bring an Alpine Home Back to Peak Condition
Related stories:

Concrete Blocks Meet Glass Walls at This $635K Michigan Home

Designed by famed local architect Jackson Hallett, the 1970s Midland residence manages to be monolithic and airy at the same time.

Designed by famed local architect Jackson Hallett, this 1970s residence in Midland, Michigan, manages to be monolithic and airy at the same time.

Location: 5208 Sunset Drive, Midland, Michigan

Price: $635,000

Architect: Jackson Hallett

Year Built: 1970

Footprint: 4,824 Square Feet (5 Bed, 5 Bath) 

Lot Size: 0.58 Acres

From the Agent: "Set among mature trees, Jackson Hallett’s Dean House immediately feels grounded in its surroundings. Designed in 1970 for Dale and Judith Dean, the house is a great example of Hallett’s architectural language. From the approach, you notice the composition first: a series of geometric forms that come together in a way that feels both sculptural and balanced. The shapes echo the vertical rhythm of the trees, and the whole structure reads as one cohesive idea. Floor-to-ceiling glass lines the living spaces, pulling in natural light and framing views of the surrounding woods. The living room, dining area, and kitchen flow easily without heavy divisions or unnecessary walls. Throughout the house, fireplaces anchor the main spaces, integrated storage keeps things clean and uncluttered, and a lower-level recreation room features a wet bar. In 1988, the home was expanded with a primary suite designed by Saginaw architect Rex Reittenbach. The addition is seamless, staying true to Hallett’s original vision. It offers a spacious retreat with an en suite bath, a private sitting area, and its own balcony."

Designed by famed local architect Jackson Hallett, this 1970s residence in Midland, Michigan, manages to be monolithic and airy at the same time.

Jackson Hallet was a renowned midcentury architect based in Midland, Michigan, where the Dean House is located. 

Photo by Mid Mod Michigan

Photo by Mid Mod Michigan

The use of concrete is a nod to the original owners, who ran a concrete block manufacturer.

The home’s materiality nods to the original owners, Dale and Judith Dean, who worked in concrete block manufacturing. 

Photo by Mid Mod Michigan

See the full story on Dwell.com: Concrete Blocks Meet Glass Walls at This $635K Michigan Home
Related stories:

Three Frank Lloyd Wright Followers Designed This $1.1M Ohio Midcentury With an "Ivory Tower"

Restored after years of neglect, Glenbrow sits at the edge of a wooded ravine, with a Zen garden, site-sourced stone walls, and a four-story structure awaiting completion.

Tony Smith, Ted van Fossen, and Laurence Cuneo met in 1937 at the New Bauhaus in Chicago, then headed by László Moholy-Nagy. After the school closed, Smith and Cuneo joined Frank Lloyd Wright’s Taliesin fellowship; in 1939, van Fossen received a commission to design and build a house for Rob and Mary Gunning, a young Bohemian couple with a wooded lot on the edge of a ravine. The designers applied Wright’s principles of organic design to the Gunning House, which they named Glenbrow.

Location:  7495 E Broad Street, Blacklick, Ohio

Price: $1,099,000

Year Built: 1940

Tower Built: 1964

Architects: Tony Smith, Ted van Fossen, Laurence Cuneo

Last Renovated: 2017

Renovation Architect: Joe Kuspan

Home Footprint: 2,854 Square Feet (3 Beds, 3 Baths) 

Tower Footprint: 850 Square Feet

Lot Size: 2.5 Acres

From the Agent: "Glenbrow is a two-and-a-half-acre estate built in 1940 as the vision of three architects tied to Frank Lloyd Wright: Tony Smith, Ted van Fossen, and Laurence Cuneo. Drawing on Wright’s principles of organic architecture, the home is closely tied to its natural setting, with stone quarried on-site used in fireplaces and accent walls throughout. The landscape becomes an extension of the architecture, with views of a wooded ravine and meandering stream that shift with the seasons. French doors open the interiors to a series of patios, creating an easy flow between indoors and out, with plenty of space for alfresco dining, including one area with a wood-fired oven. The high-performance kitchen features soapstone counters, a coffee bar, and extensive built-ins, and it opens to a large dining room with views of the scenery. In the living room, a restored built-in sofa and table made of old-growth cypress sit alongside a woodburning fireplace and a cozy niche for work or creative projects. An open-concept primary suite offers views of the Zen garden and ravine. Also on the property is a four-story ‘Ivory Tower,’ designed in 1964 by Ted van Fossen. Partially restored, it remains one of the property’s most distinctive features, ready for the next owner to furnish. For those who appreciate architecture, Glenbrow is an opportunity to own a piece of Central Ohio’s modernist legacy."

Tony Smith, Ted van Fossen, and Laurence Cuneo met in 1937 at the New Bauhaus in Chicago, then headed by László Moholy-Nagy. After the school closed, Smith and Cuneo joined Frank Lloyd Wright’s Taliesin Fellowship; in 1939, van Fossen received a commission to design and build a house for Rob and Mary Gunning, a young couple with a wooded lot on the edge of a ravine. The trio applied Wright’s principles of organic design to the residence, which they named Glenbrow.

Tony Smith, Ted van Fossen, and Laurence Cuneo met in 1937 at the New Bauhaus in Chicago, then headed by László Moholy-Nagy. After the school closed, Smith and Cuneo joined Frank Lloyd Wright’s Taliesin Fellowship; in 1939, van Fossen received a commission to design and build a house for Rob and Mary Gunning, a young couple with a wooded lot on the edge of a ravine. The trio applied Wright’s principles of organic design to the residence, which they named Glenbrow. 

Photo by Joe Kuspan

According to renovation architect Joe Kuspan, the restoration was designed to unify decades of exterior modifications while allowing old and new elements to remain distinct inside. The material palette follows the home’s 1940 language of plywood, 1-by-2 pine trim, colored concrete floors, cypress, and stone.

According to renovation architect Joe Kuspan, the restoration was designed to unify decades of exterior modifications while allowing old and new elements to remain distinct inside. The material palette follows the home’s 1940 language of plywood, 1-by-2 pine trim, colored concrete floors, cypress, and stone.

Photo by Joe Kuspan

The living room features a restored built-in sofa and table made of old-growth cypress, a functional stone woodburning fireplace, and a corner work niche. Original cypress window and clerestory frames were restored with new Low-E insulating glass, while custom birch and cypress built-ins add storage, shelving, and an AV console.

The living room features a restored built-in sofa and table made of old-growth cypress, a functional stone woodburning fireplace, and a corner work niche. Original cypress window and clerestory frames were restored with new low-e insulating glass, while custom birch and cypress built-ins serve as storage, shelving, and an AV console. 

Photo by Joe Kuspan

See the full story on Dwell.com: Three Frank Lloyd Wright Followers Designed This $1.1M Ohio Midcentury With an "Ivory Tower"
Related stories:

Structural Elements Steal the Show at This Loftified 388-Square-Foot Barcelona Apartment

Beams and braces are splashed with color in the opened-up space, signaling a spunky evolution for a home that’s been in the same family for generations.

Houses We Love: Every day we feature a remarkable space submitted by our community of architects, designers, builders, and homeowners. Have one to share? Post it here.

Project Details:

Location: Barcelona, Spain

Designer: Its Not A Studio / @itsnotastudio

Footprint: 388 square feet

Photographer: Rocco Bibbiani

From the Designer: "This small apartment is not just a dwelling; it is a space that has belonged to the same family for generations, loaded with memories and layers of history that were crying out for a new identity. Originally, the space was fragmented in an almost unbelievable way: four rooms, a kitchen, a dining area, and a bathroom located outside on the terrace. A subsequent renovation two decades ago attempted to maximize its nearly 17-foot ceilings with a mezzanine, but the home still felt dark and compartmentalized. Our goal was clear: to free up the space and let the apartment breathe again. We tore down all the partition walls to create a single volume where the monumental height takes center stage.

"Instead of hiding the past, we decided to celebrate it. We brought the original structural elements to light, turning them into the visual axis of the project. Moving away from traditional understatement, we injected vitality through a bold color palette. The result is a vibrant interplay that contrasts with the classical architecture of Sarrià, bringing a youthful, bright, and deeply optimistic energy.

"What was once a dark and divided space is now a fluid home that honors its roots while embracing modernity. We have transformed a lifelong family apartment into a vibrant loft, proving that square meters do not limit the greatness of a design when you have height, history, and chromatic courage."

Photo by Rocco Bibbiani

Photo by Rocco Bibbiani

Photo by Rocco Bibbiani

See the full story on Dwell.com: Structural Elements Steal the Show at This Loftified 388-Square-Foot Barcelona Apartment

Original Brickwork Adorns This 1930s Ontario Tudor Seeking $2.9M

Located in a neighborhood known for its historic homes, the residence has been refreshed by homeowner and designer Stephanie Bryce.

Originally built in 1930, the home has been updated led by designer Stephanie Bryce Interiors.

Location: 3081 Balmoral Avenue, Burlington, Ontario, Canada 

Price: $4,100,000 CAD (Approximately $2,887,500 USD)

Footprint: 4,055 Square Feet ( 4 Beds, 4.5 Baths)

Year Built: 1930

Renovation Designer: Stephanie Bryce Interiors

From the Agent: "Tucked in the heart of Burlington’s sought-after Old Roseland, this Tudor home offers exceptional space and refined luxury for family living. Meticulous attention to detail is evident throughout, from the elegant wall treatments and ceiling details to the designer lighting and built-in speakers. The main level features a formal dining room with a woodburning fireplace, a welcoming living room with a gas fireplace, and a chef’s kitchen complete with an Aga stove, paneled fridge, and a butler’s pantry with secondary ovens and dishwasher. A main-floor mudroom with custom millwork adds everyday function and style. Upstairs, the primary bedroom offers a peaceful escape with vaulted ceilings and a luxurious en suite. The fully finished lower level has a spacious rec room, a three-piece bath, and abundant storage."

Originally built in 1930, the home has been updated led by designer Stephanie Bryce Interiors.

Originally built in 1930, the home has been updated by current owner and designer, Stephanie Bryce. 

Photo by Monster Media House

The fenced-in backyard has an in-ground pool and a stone patio.

The fenced-in backyard has a pool and a stone patio. 

Photo by Monster Media House

Photo by Monster Media House

See the full story on Dwell.com: Original Brickwork Adorns This 1930s Ontario Tudor Seeking $2.9M
Related stories: