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The French sea-green vases arrayed across the kitchen counter and breakfast table are ’50s Primavera.

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The custom-made Georgian-style wing chairs in the library alcove are upholstered in a hand-embroidered fabric from Robert Kime; the pendant lamp is by Maurer, and the TG-10 sling chairs and marble Angelo Mangiarotti table are vintage.

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The library’s rippling light, suspended from the original plasterwork ceiling, is by Ingo Maurer. The vintage lounge chairs are by Vladimir Kagan; the velvet club chairs were custom made, and the large ottoman is covered in a Sultanabad carpet.

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Built at the turn of the century, Marshcourt is one of architect Edwin Lutyens’s most notable English country houses. Designer Robert Couturier recently gave the home’s interiors a stylish dressing up.

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Striped in black and white, Pinto’s bedroom features a Mimmo Paladino painting and a massive ammonite fossil; the bed linens are by Frette.

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Overlooking the Cagarras archipelago, a Marcel Coard table hosts an ivory turtle, an Art Deco vase, and sculptural coco de mer seeds.

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At one end of the living room, beneath a Marc Quinn painting, is a Pinto-designed sofa with cushions made from recycled vintage leopard coats; the chairs are by T. H. Robsjohn-Gibbings, and the candlesticks are by Kenzo Takada for Baccarat.

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The living room of interior designer Alberto Pinto’s Rio de Janeiro apartment, which was renovated by architect Thiago Bernardes of Bernardes + Jacobsen. A Nancy Graves painting hangs above a Pinto-designed sofa, and the dark-wood chairs are by William Haines. The open staircase is framed in polished chrome.

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In the living room, ornate millwork installed for previous owners was painted a crisp cream and white; the 1937 light fixture is by Swiss architect Max Ernst Haefeli, and the acrylic-and-gouache painting is by Garth Weiser. The Lawson-style club chair is upholstered in a Pierre Frey velvet.

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The entry’s ceiling fixture was designed by Kleinberg’s firm, DKDA; the French benches and Italian ceramic vessel are from the ’40s.

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This loft was created for Fredrick Lyne (Jason Isaacs), the marketing genius behind Vince’s ill-fated Dolce & Gabanna ad campaign. The set, an empty space used for events, was only shown in a short scene, but Harlan thought it was worth all the work. “The scene [in which Vince confronts Fredrick about a romantic matter] was a really wonderful, awkward moment in the show,” says Harlan, “and we had to show Fredrick as stylish and powerful. This was an incredible canvas for an über living space for a high-powered and extremely polished man.”

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After a fire, Vince (Adrian Grenier), Eric (Kevin Connolly), Drama (Kevin Dillon), and Turtle (Jerry Ferrara) crash at the famed Hollywood Roosevelt hotel. The set for the hotel’s penthouse was actually a residence a few blocks down the street. “It was a beautiful space, but it had different styles of cabinets in the same room, there were decorative pieces in the floor, and there was a stripper pole,” recalls Harlan. “Using the Roosevelt’s clean, modern style as a guide, we replaced all the skin and colors and tones to make it what it was.”

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The busy courtyard at the Jama Masjid mosque.

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A view from Delhi’s well-known Jama Masjid mosque. Photo: PhotosIndia/Getty images