Your concern about emulating the viewer’s experience is valid and important. My question is how do you know what color space your viewer will have? That is to me the best option is to stay non destructive with RAW and then export to a format rhat matches what the viewing system will be. The idea is to keep as much information intil you have to down convert.
It is one of the reasons that Adobe has some many output/rendering options. As an example, I have found rendering out movies from Premier or After Effects in 4K and then allowing my playback device (Apple TV) down convert to HD look very different. The main reason is that the dynamic range and color spaces are not matched. If I render out a 4K and an HD version they look much closer as the Adobe software has better encoders and does not have to do it in real time.
In terms of the curved monitors, that Samsung is actually designed for work environments. It is the “equivalent” of two side by side monitors but with no frame in the middle.
What I found works for me is one nice large screen with as large a color space as I can afford, such as P3 or Rec 2020. They I have two cheap monitors for tool palettes and also as render targets. One is HD sRGB, the other is 4K RGB.
Now if it was me and had no limits I would really want to edit with a 4k 120 fps Rec 2020 laser project at 5K lumens in a dark room on a 16 foot wide screen. Then when not editing you can also have a great home theater for watching movies. I also have found the transmissive property of projection is easier in my eyes.