Hakbongjongtaek(The head house of Uisong Kim family, 鶴峯宗宅), firstly built in the early 17th century, was moved to its neighboring place in the late 18th century. The man who led the relocation(移建) of the house was the eldest grandson of the family, Jong-soo, Kim. He made an overall plan and also participated in building the house. There remain four Gados(family paintings, 家圖) related to the relocation plan. This paper aims to make an analysis of these Gados, and through the analysis, to find what was the essential point of the relocation plan and how the point was represented in the paintings. The result of analysis is as follows: 1. The main focus of relocation plan was the form of Anchae(the inner house). Anchae was designed as asymmetrical form, and restricted to four kan. Only Andaechung needed to be 6 kan size for religious ceremonies. 2. For the design of Sarangchae, the displacement of large Sarangbang and small Sarangbang was an important issue. There were two ways of layout: parallel type and facing type. The latter was chosen. 3. The representation and techniques of Gado is quite concrete, in spite of differences among them. The expression of doors, windows, attic and kitchen was based on the understanding of space. Also the spatial division, which was expressed line on the grid, was based on the scaled ruler. As we've seen before, painting the relocation plan was a kind of endeavors to make the housing type as a realization of Garye. Also, we can find out that the role of the eldest grandson of the family was quite important to carry out the plan. As well as, it was meaningful to examine Sadaebu (the aristocrat of Chosun)'s perception of housing.

As a result of analyzing the floor plan shown in the three drafts, there were a great deal of differences in composing the space of the inner main hall. The inner room facing to the east with the arrangement crossing the inner floor at right angles in the 'Baekdangguje Draft' faces to the south in the east or west in front of the main house thereafter. This represents that it reflects the intent of the owner of the architecture emphasizing the size increase and ceremonies of the main house in the 'ㅁ shape', which has changed to the directions of easily accommodating the Confucian ceremonial activities in the floor plan of the inner house as the size of the main house was gradually increasing from 24 sections to 30 or 38 sections. The expansion in the size of main house further divided the functions of floor into one for daily life and the other for ceremonies as well. In other words, the 30 Sections in Yijeong Draft as being the first planned draft for reconstruction had a hall for memorial services in the main hall of the inner house, whereas the 'Draft with 38 Sections' as being the second planned draft for reconstruction was planning a room with a floor (two sections of Bangdang) for memorial purpose in the back of the inner main hall. The variations in the guest house (or space for men) shown in the drafts confirms the establishment of space for men as the size of the main house increases. We can see the change that a large guest house is placed over the south and in the south and east of the main house as the number of main house increases by 30 sections or 38 sections. Especially, a guest house with a wide space in a 'ㄴ shape' is arranged from the south of main house to the east wing in the Draft with 38 Sections. In addition, the backward sections are advanced in the front and back of guest house in the drafts with 30 and 38 sections, while a back floor or a back floor connecting to the back room or sleeping room or inner house is installed in the backward sections.