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Whispir · 2020 · Product design and strategy

COVID-19 contact tracing

Contact tracing and crisis communications built in weeks for governments under pressure, and what it taught me about technology made in moments of fear.

THE BOTTLENECK WASN’T ONLY THE VIRUS. IT WAS INFORMATION FLOW AND COORDINATION. VENUECHECK-INREAL-TIMEDATAEXPOSUREMAPPEDPEOPLENOTIFIED SOONERPUBLIC HEALTHTEAMS B BALANCING · LESS PRESSURE ON MANUAL TRACING
Fig. 1 · Where the system was stuck, and where the design intervened
Organisation
Whispir
Year
2020
Role
Product lead
Services
Product strategy, UX and UI, two-way communications, automated workflows
Reach
22 Australian government departments and agencies, over a million people
The problem

Tracing that couldn’t keep up

The concept came from wanting to do something useful in a crisis. Manual contact tracing was breaking down under the volume, and the bottleneck wasn’t only the virus. It was information flow and coordination.

The approach

Speed and care, with privacy at the centre

I could see a way to use digital check-ins and real-time data flows to map exposure faster, notify people sooner and take pressure off overwhelmed public health teams. The goal was never surveillance. It was the belief that thoughtful technology could protect public health without compromising civil liberties.

01

Minimal data

Collect only what tracing actually needs.

02

Limited storage

Keep it no longer than the public health purpose requires.

03

Transparency

Make it clear to people what happens with what they share.

What we built

From concept to adoption in weeks

In a matter of weeks I led the development of contact tracing forms, alongside a wider COVID-19 strategy of streamlined two-way communications and automated workflows. Within three months it had been adopted by 22 Australian government departments and agencies, and it was used by over a million people.

Victoria’s Department of Health and Human Services started using it on 26 March 2020 to scale up contact tracing. Instead of phoning every close contact, the department could send automated check-ins to people in isolation, asking about their health, symptoms, testing and quarantine status each day, and see who needed follow-up. By May, police services in four jurisdictions, ambulance services in three, Queensland Corrective Services and Queensland’s Department of Transport and Main Roads were using it too.

What it did

Two-way, not broadcast

Daily health check-ins with people in isolation, updates for cases and close contacts, news from hospitals and testing sites, quarantine auditing, and alerts for people in an outbreak area. Every reply came back into the workflow, with a secure audit trail.

How it reached people

The channels people already used

SMS, email, WhatsApp and voice, so nobody needed to download anything, and agencies could set it up without waiting on their IT teams.

In the press: iTnews, Victoria ramps up COVID-19 contact tracing using Whispir (March 2020) · Whispir, platform used by government agencies for COVID-19 communications (May 2020)

What it taught me

Scale amplifies everything

When something moves from concept to adoption that fast, the intentions that shaped it get absorbed into systems with their own logic and incentives. Tracing systems designed for safety showed me how easily safety can slip into surveillance when urgency drowns out reflection. Technology isn’t neutral. It mirrors our values, our fears and our intent.

The systems we build in moments of fear shape the kind of world we live in long after the crisis has passed.

THE CRISISCREATES PRESSUREPRODUCES A SOLUTIONTHE SOLUTION SCALESTHE RIGHT QUESTIONS DELAYARRIVE AFTER IT’S IN THE INFRASTRUCTURE
Systems lens · policy built faster than understanding
Where it led

Empowerment instead of control

That project changed how I saw my work. When I co-founded SIX in 2023, I wanted to use the same tools, design, data and systems thinking, for empowerment instead of control. It’s also why so much of my work now asks what systems cost the people inside them.

Read the essay: How fear shapes design →