Initially enrolled in the Faculty of Mathematics at the University of Coimbra in 1888, Fiel Viterbo completed his third-year bachelor's degree in 1893 with distinction and finishing his fourth year in 1894. He also attended a third-year philosophy course at the same university.
Viterbo’s architectural practice gained prominence in the early 20th century, particularly for his eclectic designs, which blended classical elements with local traditions. A key example of his work is the Casa Bissaya Barreto in Coimbra (1923-1925), a residence he designed for the prominent surgeon Fernando Bissaya Barreto.
In 1929, the banker Augusto Carreira de Sousa commissioned Viterbo and João Eugénio Duarte to carry out significant renovations to the Casa da Quinta de Santa Clara in the Ameixoeira, Lisbon, transforming both the house and its gardens. Another significant project was the renovation of the Instituto dos Vinhos do Douro e Porto building in Porto (1933-1937), where Viterbo introduced a neoclassical style influenced by the Adam brothers, pioneers of the neoclassical English style.
Viterbo also worked on the Palácio da Mitra in Lisbon, overseeing the reconstruction of the lower floor to house the Biblioteca Municipal do Poço do Bispo in 1934. His renovation of the Club Portuense (1931-1937) further exemplifies his signature neoclassical revival style, like the work he completed at the Casa de São Miguel dos Viscondes de Villar d`Allen in Porto.
His design philosophy was marked by an emphasis on elegance and balance, which extended beyond architecture to include detailed interior decoration, furniture, and accessories. Viterbo often sourced these items from antiques dealers or commissioned them based on his own designs. His involvement in the art market was evident when he sold paintings for display in the Palácio da Assembleia Nacional, with the approval of architect Raul Lino.
Viterbo’s influence extended into ceramics, where he attempted to revive the Fábrica da Torrinha in Vila Nova de Gaia, producing fine examples of ceramic art. He also played a crucial intermediary role in the partnership between the Fábrica Cerâmica do Carvalhinho and the Real Fábrica de Louça de Sacavém, which experienced a golden age under the management of Herbert Gilbert and António Augusto Pinto Dias de Freitas in the early 1930s.
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PT/FAUL/ARQUIVO/FV
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