A lot depends upon where, when and what sort of Georgian house you are focused on.
At the top o'the heap were the large country houses in England from about the 18th century onward. Georgian houses tend to be very symmetrical with imposing facades. Two architects tended to dominate; Christopher Wren, and Palladio. Curved features, like oval rooms, barrel ceilings, and window openings, were common. The most common building material was dressed stone, or brick. The model Georgian Country House was made to impress the wealth, power and fame of the property owner.
Country gentry expected large numbers of guests with their large retinue of servants to be provided for. The basement was primarily a work space where the servants, hidden from view, did the endless work of keeping those old houses running effectively. Kitchen, scullery, laundry, pantry, and the servant's table were basic. Hidden stairways and elaborate bell systems were used to minimize the presence of the house minions. Below stairs anything more than periodic whitewashing would be rare.
The main floor was dedicated to the family's public functions. The front door and entry hall was imposing. The main floor might also have rooms dedicated to: formal dining where large numbers of guests could be seated; a Ball Room for dancing to the music of local musicians; a Library/Study where the Master showed off his importance to visitors and servants; a Drawing Room used for casual gatherings to sew, listen to Chamber Music, and play games. These rooms were elaborately decorated, but colors and forms tended to be subtle expressions of the owner's place in Society. These were the most formal and elaborate public rooms of the house where curved and oval and round rooms would most likely have been found. Where the servant's stairs were hidden, the grand staircase(s) were meant to be marveled at as they curved upward to the second floor.
The second floor contained the Owner's Suites of rooms, and a large number of guest rooms ... often in a separate wing. The size, location and decor of guestrooms would be assigned to guests according to their place in society. The assignment of bedrooms was also a part of the elaborate game of flirtation and extramarital shenanigans that went on during visits that might last a whole season.
The Family's private apartments were comfortable for the time. The Mistress might have her private sewing or reading room, where only her most intimate friends would be invited, and from which she would rule the House and its army of servants. The heir's rooms would be second only to the Owner's, and probably nearest the formal staircase. Daughters would occupy apartments furthest from the stairs and access. Nurseries were on the second floor connected to smaller bedrooms for the wet-nurse and/or nanny. As much luxury as possible would have been lavished on the Owner's Suits of apartments. The Master's apartments would have been more likely to reflect the family's personal tastes, so eccentric wall papers, and paint choices might have been more likely.
On the third floor were the private rooms for the servants, and they also were assigned according to the servant's rank in the household. Cook, Butler, and the owner's personal body servants, along with private secretaries, tutors and etc. would have the pick of the best rooms. The lowest ranking servants might be consigned to the attic in rooms only large enough for a single bed and chamber pot. These servant's quarters weren't fancy. The better rooms might have their own fireplaces, a window, and a cast-off carpet. Whitewash would be the normal paint, and some rooms might not have even had that.
Close to the main house the stables, blacksmithy, and etc. were kept out of sight. Stable hands slept in the barn. The Estate Manager and head Grounds Keeper might have their own small cottages. Landscaping for the Georgian Country House was extremely important. The most sought after landscape architects was named "Capability" Brown, and his principles were widely copied. "Capability" would literally move a small hill from one place to another, create "natural" rivers and lakes, or install a forest to enhance the view of the House as it was approached by visitors. Only a wealthy person could afford Capability, but the number of lesser lights were available for those with fewer resources.
I've spent a bit more focus on the Great Country Houses, because they were the model for more modest properties in the country, and the town houses that a family might live in during the "Season in the City". Whilst Daddy was attending Parliament, his sons might be visiting the low dives where wine, wenches and bad companions could be found. This was a season for daughters to shop for the latest fashions and learn the newest songs and dances, while Mother assessed promising matrimonial matches. The family would spend evenings at the Theater, or throwing elaborate parties for their peers. To accomplish this, they had to approximate the grandeur of their Country Estate in the crowded City. Beautiful landscapes here were public rather than private. Riding wasn't to the hounds, but to see and be seen along fashionable avenues and parks. The pied de Terre during the Georgian Period was itself a model for what ambitious city dwellers thought of as Posh.
Stone was the preferred building material, but modest copies were often of stucco, wood sometimes painted to mimic stone or brick. The style found favor in the overseas colonies, but there brick and wood predominated; the houses were smaller and less class conscious, and; the natural landscape with a few enhancements were more common. Again the colors tended to be muted, but not always. When first visiting Mt. Vernon, one is struck by the vibrant bright paint that the Washington's preferred. The difficulty in lighting homes during the late 18th and early 19th century might have made bright colors in rooms more extensive than we generally think was the case.
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