Equalizing the difference between tungsten and daylight

The best way I could think of, other than gelling the lights with half CTB, or the windows with half CTO, which are both dependent on your production size, is to set the camera colour temperature to about 4300 kelvin. If you've already shot it and it's in the bag, try changing the temp to that in premiere. It's always a compromise but it's often used on set as digital is more forgiving than film when it comes to mixing temperatures. It will blue up the daylight a bit if you've balanced the camera to daylight (5500/5600k) when shooting, and cool down the tungsten. It can be a nice effect and is quite a popular look at the moment. See what that does then play with the temp until it suits what you like. The scene looks like tungsten is the dominant colour so that should help.