Pro engineers care about translation. They want their mix to sound good on other systems.
That’s why the NS-10s became a standard - if a mix sounded good on them, it was going to sound good everywhere.
Generally speaking, pro engineers want highly revealing speakers. They don’t want "bad sounding" speakers. But their goal is clarity above all else. NS-10s aren't really a standard anymore - what is more common is to have a pair of great speakers like PMCs or ATCs and then check your mix occasionally on a crappy speaker called an Auratone.
Mastering engineers have crossed over with audiophiles for years as both B&W speakers and Dunlavy have been standards. ProAc 100s used to be standards in mix rooms. Dynaudio makes models for both markets. So does Amphion.
I am a newbie here but the notion that professional audio engineers and professional equipment designers don’t understand music is ludicrous.
One other point about nearfield studio monitors is that they are designed to sound good at only one point: the mix position. I would think that home audio designers would target a wider sound field.
Note that "distortion" is in fact highly prized in professional audio when it’s the pleasing type of distortion known as saturation. No one mixes a track without it these days. Formerly it was provided by tape and transformers; today it’s added back by plugins; it’s a big topic and a key part of modern sound.