Architecture is more than the sum of its parts. The process of transforming from a raw material to a structure imbues formal meaning, spatial identity and a functional ability, worth more than its walls, floors and roof. Similarly, a museum is more than the sum of its objects. Artefacts, like materials, exist as objective facts of reality, alone they stand for nothing and everything. But through the lens of perspective and opinion they can be altered as support structures explaining the worlds formative undercurrents. In this way it is not the object itself that has an intrinsic value, it is the organisation of the (arte)facts that produce value. The Rushcutters Auditory Deposit is an exemplification of this theory. Designed to house the Oral history collection of the city of Sydney, it directly addresses the role of curation as a value producing tool. The digital artefacts of this museum require nothing more than a speaker and an internet connection to access, therefore the structure focused on manipulating the experience of information, and its interaction with space and site. Five design objectives were produced to guide this manoeuvre, focused on uniting digital and physical space, as a manifestation of the Australian culture they represent. The final design both sustainably responds to its urban context while its form challenges the public relationship with traditionally formal cultural spaces. In doing so the Oral History Library reinvents the public occupation of urban space by integrating it with the digital realm and catering for the curation-based future of libraries, museums and other custodian institutes of information.