I think the answer to this question will depend on how much detail you need to add. I assume you are just doing a shell of the building. But what details from the outside are you required to add? Colors? Windows? The lattice decoration that wraps around it? Also, do you need to make use of material call outs (or appearances) such as glass, aluminum, steel?
While you probably won't find anyone to model it for you (at least I hope not since sounds like a school project), it would be helpful to post the entire assignment on here so that we could understand the full scope before giving you guidance.
Yeah this is for a uni project so I need to show proof that I've modelled it myself. I don't need to use anything to do with materials etc as it is to be 3D printed so I just need to have the lattice work, embossed around the shape of the building. Thanks Mark Kaiser and John Pagel for the help so far.
It will be interesting to see what techniques people come up with... I like surfacing techniques
To start a revolved surface from a conic maybe
Looks like theres some helical cuts required somewhere, its easy enough to create helical surfaces, and move them around where you want them
I like surfaces for lots of reasons, but especially the trim command.
You'd obviously have to do more cuts before the circular pattern, but it looks like it would work
edit: Its actually quite tricky, when you take into account the glass is flat, but good fun, good luck!
I woke up this morning feeling a bit bad, I don't think I gave you very good advice. I suppose the problem in solidworks is that there are so many ways to accomplish the same thing. I have just been working on a spiral stair model so when I saw your question I thought oh that's pretty similar to what I'm working on, but reading the link Paul shared it dawned on me that it is actually no mean feat to get in all that detail.
I think the key thing in modelling anything complicated is to break it down, look for the patterns and the symmetry, and then let solidworks do the mass computation required. To this end my initial attempt was good in that it allowed me to learn the underlying geometry, but to produce anything getting close to complexity of the gherkin itself requires a different approach.
I like to use equations to drive my models, so in this case two obvious parameters exist, the number of floors and the number of segments per floor.
I created a part called 'slice' which could position itself onto an assembly sketch by calculating its height relative to the Top Plane.
This part then calculates the 3 facets (planes) required per segment for the diamond and the two triangles and patterns them. Again this is all done parametrically using equations. So in development you can work with less than you actually need.
The part has multiple configurations, I used a 'dirty hack' of naming the configurations 1,2,3... and then linking the config name to a file property and then using this in my equations.
I wouldn't recommend doing this, probably safer to use a design table to create the configs, but I was being lazy.
Notice the Body-Move/Copy at the bottom of my feature tree, that brings the part down to the origin, remember this is linked to the building profile in the assembly sketch so otherwise it would be floating in the air somewhere
This means that the assembly is simple, just 1 sketch, 1 part and 1 linear pattern. Its all parametric and works pretty good. I dont think the assembly liked my dirty hack and I have to open the part to get a rebuild.
The key benefit of modelling this way is that when you're done it takes less than a minute to change it all around
I've deliberately not shown you too much detail, this is just another approach. I hope it helps. Everyday I'm still learning (which is why I had a go at this) and I'd love it if some of the forum heavyweights could give advice on this, maybe after you've submitted your work tho hey
Thanks for all the help so far, I've got a lot of different routes I can go down now so I'll be working on it this week and then I'll post my progress on here