A room consists of fairly simple geometry, but a great many textures may be applied to various parts of its surface, either by the attachment of different materials and textures or the combining of UV maps or otherwise. There is no “single cut-and-dry solution.”
A good guidance is that: you should consider each shot, that is to say each camera, separately. Most likely you are going to build up your show by first filming from different cameras, then editing the footage together later. For any given camera’s POV, some textures and materials will be extremely important; others will be mere background. So, although you may need to put in some temporary window-dressing images (just so you can more easily maintain visual continuity during previsualization), when it comes down to the actual set-building, you’re going to be doing that “per shot” anyhow.
As is the case with any real-world Hollywood set-building exercise, you’re going to be building in each case “exactly what you need for this shot and this camera, and no more.” Everything which is not in-frame “does not exist.” Props that hang on the wall or that lie upon the floor or that hang from the ceiling are all dealt with as separate objects, and re-used. What superficially appears to be a single problem is broken down into a group of somewhat simpler problems.