This is a pretty wise and standard approach. I did a similar thing in a professional portrait lab, setting up monitors for color correction of incoming customer files.

The area was carpeted "gray card gray."

The walls were painted Munsell N-8.

Table tops were medium gray plastic.

Computer monitor desktops were set to a medium dark gray. Screensavers were left off, because we wanted monitors stable all day.

The drop ceiling was high enough not to influence peripheral vision.

The area was lit very dimly with 5000K GE Chroma 50 fluorescent tubes in fixtures bounced upwards, for an indirect, diffused light.

Monitors were equipped with blinders.

Operators wore gray smocks.

Operators were color tested with the Munsell Color Test — The $750 tile test, not the freebie at https://www.xrite.com/hue-test (which you should try, anyway!).

We calibrated a master monitor. Then we calibrated all the other monitors to the same aims. We did this weekly during our busy months.

That's pretty anal-retentive stuff, right? Well, we were buying Kodak paper by the tractor trailer load, so NOT paying attention to that stuff led to expensive remakes. We processed millions school portrait packages every Fall, so every minute of labor counted against both the bottom line and on-time delivery.

A $160 to $200 calibration kit will do wonders for your entire workflow. If you can't trust your monitor, you can't trust that your printer or lab will deliver what you expect.

NO monitor stays accurate over time. I calibrate monthly, at a minimum, and before every large batch of color correction tasks (whether for video or stills).