Abstract: Based on the two schemes of the Panopticon prison program, released in 1787 and 1791, in combination of an examination of Bentham’s epistolary corpus and the historical backdrop of British prison reform, this paper delves into the design evolution and conceptual underpinnings of the Panopticon through a comparative lens. The first version showcases Bentham’s utopian vision that articulates the spatialization of surveillance and the dynamics of the power relation. The subsequent version emerges as a compromise, one that yields to external pressures from government and society, deviating away from the cardinal principle of surveillance. Despite these concessions, Bentham’s core stance remains steadfast, evidenced by his subtle evasion of certain ideological pillars and even the concealment of alterations within the drawings. This paper underscores the intricacies of architectural images in conveying design philosophy and its evolution, emphasizing the paramount importance of interpreting architectural drawings within their specific socio-cultural milieu. It further fosters a deeper appreciation for the intricate interplay between visual representations and the ideas they encapsulate.