I think as long as you intelligently make decisions about what you're doing, it may look OK, and may even look great.
I actually like the look of mixing color temperatures, and if you look at most of your favorite movies, you'll see I'm not alone.

For Super 8 Kodacrhome, I like to let lots of daylight in through white lacy curtains on the windows (for diffusion) to use as an ambient light in the room, then use 3400K 650 lamps to light my subjects.
I think this keeps the K40 from looking so golden, which is what many people don't like about it's look, and in my opinion one of the things that screams "home move" when shooting S8.

If you happen to own a copy of my film, Lost Tribes (sorry, I'm not really plugging it here), one scene where I did exactly this, is about 3/4 the way through.
There's a girl in a sparkly shirt doing books in an art gallery, she finishes, gets up and flips the closed sign over and shuts the door.
(This then goes into a temple sacrifice scene)
That whole scene was shot on K-40 (no 85 filter), light bounced from a reflector outside through the front door of the store at the ceiling for bounce light, a 650w 3400 PAR mounted on the camera pointed at the ceiling, and a 1K 3200 PAR back to the girls right, aimed at the ceiling.
Two additional windows in the shop were open. (no direct light was coming in through the windows).
Check out the color; nice and natural looking, not too blue at all, and not Kodachrome looking, but still, really fine grained!
It doesn't look like pools of different colored light either, it kind of balances the color temperature out.

So I actually LIKE to do what you're asking about, and I prefer the 3400K lamps on Kodacrhome, exactly because I don't like the warm look for most things.
Also, this is the only scene in my film where I got a decent look and F-stop for an interior.
I wish I'd figured this out earlier on, instead of shooting a bunch of interiors with that excremental Ektachrome.

Matt Pacini