Layout of first and second voices

I find it almost acceptable. The reason being the first one has a G (treble clef) while the second one has an F so there is more avoidance happening. I would feel better if all of the notes on the first beat were lined up since there is no avoidance necessary. I'm curious what Gould says.

You are concerned about voicing, yes?
The last thing I want to do is confuse matters. I am not a reader of Gould. Davies is more accessable for me (and free).
If you are hung on deciding whether or not to be as precise as you'd like or endure the extra effort, consider this: From what I have picked up from other composers and a conductor, as well as string players, after discussions as to whether or not an eager (non-string player) composer should enter the bowings and slurs is that it is almost always ignored by section leader or concert master. In doing so I found that how strings are divided is going to be settled by section leaders, concertmasters, anyway.
Conductors know scores, not parts. There are often differences and discussions are neccessary to decide these matters.
Your orchestra experience is greater than mine and I claim no special knowledge of this matter. As I've said, this is based on the experience of others. Perhaps this helps?
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This layout is correct according to current standard rules of engraving as per Elaine Gould's "Behind Bars". There are some pretty specific rules about how things should be done based on which voice is higher, whether they overlap, etc. In the first example above, the layout saves space and is therefore recommended.