Byron Harrison

Byron is the leader of our global acoustics practice, incorporating room acoustics, sound separation, and noise and vibration design.

I have the privilege of leading our exceptional team of acousticians. Although I’m based in Chicago, I’m frequently in London and New York—and in Melbourne whenever I can manage it. I launched the acoustics practice at Charcoalblue in London in 2010, about a decade into my career. Building relationships with collaborators and developing a portfolio of creative, sensitive work took time, but it laid the foundation for everything that followed.As Charcoalblue’s global footprint expanded, I was able to contribute to leading designs across the US, Australia, and many other parts of the world. Together, we’ve created an extraordinary body of work, and I take immense pride in designing buildings that sound wonderful while respecting their cultural and economic contexts.I try to feel “at home” wherever I am. I’m often on the move, and I make a point of attending performances and exploring public buildings along the way. I bring the best of what I’ve experienced and observed back to every project—even if I occasionally forget to swap inches for millimetres, or “s” for “z,” in the process.

What You Hope People Feel in a Space You’ve Worked On

I have a deep appreciation for spaces that sound the way they look. It’s a sensibility I try to bring to every project. Our sense of hearing plays a major role in how we “size up” a room, and when architectural sleights of hand make a space sound different from what it appears to be, our brains struggle to reconcile the mismatch. That added cognitive load is tiring, and over time it diminishes our ability to fully enjoy the act of listening.

What We Won’t Learn from Your CV

Music has always been an important part of my life. I grew up in rural Ohio playing piano, performing on trombone and tuba, and singing. I went on to study voice in college, where I discovered opera. In fact, the first opera I ever saw was one I performed in—I sang in the chorus and took on a few small roles. I even worked backstage and, once, as a lighting board operator (an experience I decided not to repeat!).In my early thirties, I picked up the trombone again and began playing with ensembles in London. I never imagined I’d have the chance to perform with an orchestra, so it was a real joy to spend seven seasons with the London Gay Symphony Orchestra.After moving back to Chicago, I joined the board of Haymarket Opera, a company devoted to early and Baroque opera. It’s been wonderful to dive into yet another highly specialized genre and continue expanding my musical world.

Cultural Value That Guides Engagement with Others

Over the past 15 years, as our acoustics team has grown, we’ve welcomed people with an extraordinary breadth of personal and life experiences. I often joke that we have the highest number of passports per capita at Charcoalblue—but in truth, this diversity brings real value. The range of perspectives within our team enriches our thinking and elevates the quality of our work.We are intentional about avoiding the creative stagnation that can come from “groupthink.” By encouraging everyone to draw on their own lived experiences, we aim to create a studio environment where people can arrive—and design—as their whole selves. Our commitment to equity and inclusivity of course includes protected characteristics, but it goes deeper than that. At its core, it reflects our belief that the best, most compelling work emerges when we remain open to a wide spectrum of contributions.