Theatre Design & Technology - Spring 1988 - 23

The force in the chord and the
length over which it is compressed are
affected by the following factors:

FIGURE 2

I

C:>

LATERAL

BOWING

~LOAD

Truss batten buckling

to design or analyze the truss for buckling, it is necessary to know which
elements are under compression and
the amount of compression force on
each element.
Whenever a load is applied to a truss
batten, one of the chords is compressed and the chord immediately opposite is placed in tension. Typically,
the top chord is the one compressed
although this is not always the case,
and depends on the load pattern. It is
also possible for a particular chord to
change from compression to tension
along its length, again depending upon
the load pattern. The compression
chord is braced against buckling in the
vertical direction by the diagonal web
members, but is usually unbraced in
the horizontal direction, particularly
if the truss is hanging by cables.
Since the tnISS compression chord is
very similar to a pipe column, it can be
conservatively designed in the same
maImer. The procedure is to calculate
the compression force in the chord lillder a particular load configuration, determine the length over which the
chord is under compression (which is
analogous to the height of an unbraced
vertical columnl or the distance between lateral bracing, if any, and then
design the chord as though it were a
column of that length and subjected to
that force.

a) Different configurations of
load (i.e. full uniform loads,
partial uniform loads, concentrated loads, and multiple concentrated loads);
b) Characteristics of truss batten
supports such as support spacing and support stiffness
(whether rigid or flexible).
Cable suPPOrtS are considered
flexible and the degree of flexibility is affected by the type
and length of cable.
The above factors affect both the
chord compression force and the compressed length. When flexible suPPOrtS
such as cables are involved, proper
analysis of the above factors will generally require computer modeling to
determine the desired data. A failure
to account for the support flexibility
will generally result in underestimating both the compressed length and
the compression force as well as other
forces in the truss. General design
tables can be developed, using general
computer models that take into account the above factors. The results of
the general models can then be used
for design purposes without resorting
to computer modeling for each particular application.
In the example of the existing 80'
truss described above, it was determined that the entire top chord was
compressed under any load placed in
the center of the truss. Tllis long compression length so greatly reduced the
capacity of the truss that a modifica-

tion of the truss design was required.
In this case, the modification con-

sisted of cutting the truss batten into
four 20' -long sections. The four pieces
were cOImected with pinned COImections that transferred vertical loads
between sections but limited the maximum compressed length under any
condition of loading to 20'. The net
effect of the mocl..ification was to increase the capacity of the truss by a
factor of 16 relative to buckling
failure.
In the case of new batten design,
alternatives to truss battens should
also be investigated. In the situation
where a single pipe lacks adequate
bending strength, the pipe can be reinforced with other steel shapes such as
cold rolled charmel sections as illustrated schematically in Figure 3. (It
should be noted that proper single pipe
design is also affected by load configuration and support characteristics
and is thus subject to the same need
for computer modeling in order to detennine the maximum bending moment in the pipe whenever flexible
supports are used.) Such a reinforced
single pipe design may be less costly
and provide greater capacity per pound
of weight than a truss batten design.
The advantages of the reinforced batten design over both the typical truss
and the modified truss battens were
such that the theatre tbat provided the
above example of buckling eventually
changed over the majority of its battens to the reinforced batten type.*

Donald E. Kimball, Jr. is 0 Pro;ect Engineer for the (inn of Roths, Roths, eV
Johnson, Inc. -stmctural engineers.

Alternate reinforced batten design

FIGURE 3

-

SPAN

I

I

CANTILEVER

SPAN

-----111 SPLICE

f--CABLE

~ HANGER

@ 20' (TYP)

L 1 1/2' STD. PIPE

L CHANNEL

6
1

CABLE

ITCHAN EL~
~- HANGER
'oJ

()J

ACORN NUT-9

,-

\

_~

DIP'~

0

S
PLA TICOATI G (RED)

CROSS SECTION
AT PIPE HANGER

WASHER

"" COMPRESSION

FITTING (STOPS)

CROSS SECTION
AT CABLE SUPPORT

TYPICAL HANGER
TD&T

*

SPRING 1 SOO

21



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 1988

Contents
Theatre Design & Technology - Spring 1988 - 1
Theatre Design & Technology - Spring 1988 - 2
Theatre Design & Technology - Spring 1988 - 3
Theatre Design & Technology - Spring 1988 - Contents
Theatre Design & Technology - Spring 1988 - 5
Theatre Design & Technology - Spring 1988 - 6
Theatre Design & Technology - Spring 1988 - 7
Theatre Design & Technology - Spring 1988 - 8
Theatre Design & Technology - Spring 1988 - 9
Theatre Design & Technology - Spring 1988 - 10
Theatre Design & Technology - Spring 1988 - 11
Theatre Design & Technology - Spring 1988 - 12
Theatre Design & Technology - Spring 1988 - 13
Theatre Design & Technology - Spring 1988 - 14
Theatre Design & Technology - Spring 1988 - 15
Theatre Design & Technology - Spring 1988 - 16
Theatre Design & Technology - Spring 1988 - 17
Theatre Design & Technology - Spring 1988 - 18
Theatre Design & Technology - Spring 1988 - 19
Theatre Design & Technology - Spring 1988 - 20
Theatre Design & Technology - Spring 1988 - 21
Theatre Design & Technology - Spring 1988 - 22
Theatre Design & Technology - Spring 1988 - 23
Theatre Design & Technology - Spring 1988 - 24
Theatre Design & Technology - Spring 1988 - 25
Theatre Design & Technology - Spring 1988 - 26
Theatre Design & Technology - Spring 1988 - 27
Theatre Design & Technology - Spring 1988 - 28
Theatre Design & Technology - Spring 1988 - 29
Theatre Design & Technology - Spring 1988 - 30
Theatre Design & Technology - Spring 1988 - 31
Theatre Design & Technology - Spring 1988 - 32
Theatre Design & Technology - Spring 1988 - 33
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Theatre Design & Technology - Spring 1988 - 35
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Theatre Design & Technology - Spring 1988 - 37
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Theatre Design & Technology - Spring 1988 - 68
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