Competing and Conflicting Land Uses at the Rural-Urban Interface: Understanding the Impacts of Residential Development on Agricultural Landscapes

Rural communities are currently undergoing rapid restructuring as globalization impacts the future viability of many small towns. Agricultural regions throughout Canada, in particular, Niagara-on-the-Lake, are forced to adapt to changes within the industry. In addition to these challenges, sprawling residential developments from nearby urban centres are changing the dynamic of this town, resulting in conflicts between the residential and agricultural land uses. This thesis explores these conflicts from the perspective of the residents and the farmers. It was found that the initial sources of conflict related to noise-generating farm activities are no longer a concern, while the use of pesticide have become a source of contention among the residents. The farmers, alternately, were found to be proactive and strived to limit the potential for conflict with adjacent residents. Lastly, it was determined that planning legislation aggravates land use conflicts within Niagara-on-the-Lake and need to better address these land use conflicts.

Early Overhead View

Various scenic views from around Brock University including aerial photographs, landscapes, and views of outdoor artwork.

Physical Education Centre Layout

Site Plan for the Physical Education centre and surrounding landscapes.

The bees of Niagara: a test of the intermediate disturbance hypothesis /

This study examined the bee fauna of the Carolinian Zone in Ontario, Canada. In 2003, 15687 individuals from 152 species of bees were collected. Tliere were many rare species but few abundant species. There were three distinct bee seasons. The Niagara bee assemblage was less diverse compared to other Carolinian Zone assemblages and types of landscapes. This study also examined how anthropogenic disturbance affects the diversity of bee assemblages. The intermediate disturbance hypothesis (IDH) was tested by selecting field sites subject to low, intermediate, and high disturbance. Intermediate disturbance had the highest species richness (SR=1 15) and most bees (N=556I), followed by low disturbance (SR= 100, N=2975), then high disturbance (SR=72, N=1364), supporting the IDH. Increased species richness in areas of intermediate disturbance was due to higher abundance, possibly because more blooming flowers were found there. Bees were larger in high disturbance areas but smaller in areas of high and intermediate disturbance.

The investigation of edge effects within ragmented forest islands in Short Hills Provincial Park

It has been well documented, within the field of landscape ecology, that terrestrial fragmentation contributes to increased heterogeneity at the landscape level. It has also been observed that elevated areas of edge habitat occur within fragmented landscapes. Spatial and temporal edge effects were investigated in four areas designated as Nature Reserve Zones within Short Hills Provincial Park, near St. Catharines, Ontario. Random sampling along exposed edges was performed on trees and saplings, at 5 and 25 ill edge depths, using the point-centred quarter method. Diameter at breast height (dbh) and distance from point measurements were used to establish relative density, dominance, frequency and importance value. One-way analyses of variance were used on dbh measurements of tree species and Chi-Square contingency tables were used on size class distributions of saplings species to determine significant differences between 5 and 25 metres. Qualitative comparisons of importance values were also used to determine differences between 5 and 25 metres as well as between trees and saplings. These statistical and qualitative comparisons suggest that a significant overall spatial edge effect is currently exhibited by fragmented wooded islands within the park. The major species of the park, Acersaccharuln, may be exhibiting a temporal edge effect. The heterogeneous nature of the park may be of importance in understanding this area as a complex, ecological system. It is possible that the remaining forest tracts of the park have been affected, and continue to be affected by previous disturbances. Based on these findings, recommendations are made to the Ontario Ministry of Natural Resources concerning the management of Short Hills Provincial Park in accordance with their 1990 proposed Management Plan.

Photograph of Two Girls by R. F. Uren, Photographer, St. Catharines [n.d.]

Two unidentified girls are featured in this black and white cabinet card style photograph by R. F. Uren, of St. Catharines. The photograph is not dated, however, the address of the photographer is printed at the bottom of the cabinet card. This photograph was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. The Sloman - Bell family descendants include former African American slaves who settled in Canada.Richard Frank (R.F.) Uren was a photographer in St. Catharines from 1886-1895. Source: Phillips, Glen C. The Ontario photographers list (1851-1900). Sarnia: Iron Gate Publishing Co., 1990. "Cabinet card photographs were first introduced in 1866. They were initially employed for landscapes rather than portraitures. Cabinet cards replaced Carte de visite photographs as the popular mode of photography. Cabinet cards became the standard for photographic portraits in 1870. Cabinet cards experienced their peak in popularity in the 1880's. Cabinet cards were still being produced in the United States until the early 1900's and continued to be produced in Europe even longer. The best way to describe a cabinet card is that it is a thin photograph that is mounted on a card that measures 4 1/4″ by 6 1/2″. Cabinet cards frequently have artistic logos and information on the bottom or the reverse of the card which advertised the photographer or the photography studio's services." Source: http://cabinetcardgallery.wordpress.com/category/cabinet-card-history/

Photograph of Mary Bell by F. Pfaff, Photographer, Erie, Pa. [n.d.]

A cabinet card believed to be of Mary Bell, photographed by F. Pfaff, Artistic Photographer, of Erie, Pennsylvania. A handwritten entry on the reverse of the photo lists the address "231 Duke St.", however, the company's logo identifies its address as 1011 State St., Ground Floor Gallery. This photograph was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. The Sloman - Bell family includes relatives who are former Black slaves from the United States."Cabinet card photographs were first introduced in 1866. They were initially employed for landscapes rather than portraitures. Cabinet cards replaced Carte de visite photographs as the popular mode of photography. Cabinet cards became the standard for photographic portraits in 1870. Cabinet cards experienced their peak in popularity in the 1880's. Cabinet cards were still being produced in the United States until the early 1900's and continued to be produced in Europe even longer. The best way to describe a cabinet card is that it is a thin photograph that is mounted on a card that measures 4 1/4″ by 6 1/2″. Cabinet cards frequently have artistic logos and information on the bottom or the reverse of the card which advertised the photographer or the photography studio's services. " Source: http://cabinetcardgallery.wordpress.com/category/cabinet-card-history/

Two Black Gentlemen Photographed by John Cooper, London/St. Thomas, Ont. [n.d.]

An undated cabinet card of two Black men photographed by John Cooper, who operated as a photographer in London, Ont. and St. Thomas, Ont. from 1857 - 1890. The reverse of the photograph features the photographer's stamp in coloured ink. This photograph was in the possession of Iris Sloman Bell, of St. Catharines. The Sloman - Bell family have relatives who include former Black slaves from the United States. John Cooper is listed as a photographer and daguerrean artist in 1857 - 1890 in London, Ont. and in 1874 in St. Thomas, Ont. Source: Phillips, Glen C. The Ontario photographers list (1851-1900). Sarnia: Iron Gate Publishing Co., 1990. "Cabinet card photographs were first introduced in 1866. They were initially employed for landscapes rather than portraitures. Cabinet cards replaced Carte de visite photographs as the popular mode of photography. Cabinet cards became the standard for photographic portraits in 1870. Cabinet cards experienced their peak in popularity in the 1880's. Cabinet cards were still being produced in the United States until the early 1900's and continued to be produced in Europe even longer. The best way to describe a cabinet card is that it is a thin photograph that is mounted on a card that measures 4 1/4″ by 6 1/2″. Cabinet cards frequently have artistic logos and information on the bottom or the reverse of the card which advertised the photographer or the photography studio's services." Source: http://cabinetcardgallery.wordpress.com/category/cabinet-card-history/

Cabinet Card of African Canadian by Photographer W. J. Rea, of Windsor [n.d.]

An unidentified African Canadian man is featured in this cabinet card by W. J. Rea, photographer, of Windsor, Ontario. The man appears to be in official dress, possibly of a religious or legal nature. This cabinet card bears the stamp of the photographer, W. J. Rea, in black ink along the bottom of the card and on the reverse. While it is undated, it is likely from the 1870s or 1880s. This cabinet card was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. The Sloman - Bell family descendants include African American slaves from the United States who settled in Canada."Cabinet card photographs were first introduced in 1866. They were initially employed for landscapes rather than portraitures. Cabinet cards replaced Carte de visite photographs as the popular mode of photography. Cabinet cards became the standard for photographic portraits in 1870. Cabinet cards experienced their peak in popularity in the 1880's. Cabinet cards were still being produced in the United States until the early 1900's and continued to be produced in Europe even longer. The best way to describe a cabinet card is that it is a thin photograph that is mounted on a card that measures 4 1/4″ by 6 1/2″. Cabinet cards frequently have artistic logos and information on the bottom or the reverse of the card which advertised the photographer or the photography studio's services." Source: http://cabinetcardgallery.wordpress.com/category/cabinet-card-history/

Cabinet Card of Young Woman Photographed by N. C. Shorey, of Toronto [n.d.]

An unidentified African Canadian young woman is the subject of this cabinet card portrait photograph by N. C. Shorey, of Toronto, Ontario. The photo is undated but believed to be taken in the late 1890s. The photographer's stamp, with his name and address, appears in the gold lettering at the bottom of the card. The young woman in the photograph could possibly be a relative of the Sloman - Bell family, who resided in the London and St. Catharines areas. This cabinet card was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. The Sloman - Bell family relatives are descended from former Black slaves from the United States.N. C. Shorey is listed as a photographer in Toronto, Ont. from 1892 - 1900. Source: Phillips, Glen C. The Ontario photographers list (1851-1900). Sarnia: Iron Gate Publishing Co., 1990. "Cabinet card photographs were first introduced in 1866. They were initially employed for landscapes rather than portraitures. Cabinet cards replaced Carte de visite photographs as the popular mode of photography. Cabinet cards became the standard for photographic portraits in 1870. Cabinet cards experienced their peak in popularity in the 1880's. Cabinet cards were still being produced in the United States until the early 1900's and continued to be produced in Europe even longer. The best way to describe a cabinet card is that it is a thin photograph that is mounted on a card that measures 4 1/4″ by 6 1/2″. Cabinet cards frequently have artistic logos and information on the bottom or the reverse of the card which advertised the photographer or the photography studio's services." Source: http://cabinetcardgallery.wordpress.com/category/cabinet-card-history/

Cabinet Card of Young African Canadian by The Dominion Photo Studio, Toronto [n.d.]

This unidentified African Canadian man is photographed at the Dominion Photo Studio, located at 388 Queen St. West in Toronto. The photographer's name is not known. No date is provided, however, the Dominion Studio is listed as operating from 1893-1894. The reverse of the card displays the Dominion Photo Studio stamp in gold lettering (image also attached). The gentleman in this cabinet card is possibly a relative of the Sloman - Bell family, who settled in the London and St. Catharines areas of Ontario. This cabinet card was among the family memorabilia in the possession of Iris Sloman Bell, of St. Catharines. Relatives of the Sloman - Bell family include former African American slaves who came to Canada.The Dominion Portait Co. is listed as operating from 1893-1894 in Toronto. There is an additional listing for the Dominion Portrait Co. (Gourlay and Clark props.) for 1894. Source: Phillips, Glen C. The Ontario photographers list (1851-1900). Sarnia: Iron Gate Publishing Co., 1990. "Cabinet card photographs were first introduced in 1866. They were initially employed for landscapes rather than portraitures. Cabinet cards replaced Carte de visite photographs as the popular mode of photography. Cabinet cards became the standard for photographic portraits in 1870. Cabinet cards experienced their peak in popularity in the 1880's. Cabinet cards were still being produced in the United States until the early 1900's and continued to be produced in Europe even longer. The best way to describe a cabinet card is that it is a thin photograph that is mounted on a card that measures 4 1/4″ by 6 1/2″. Cabinet cards frequently have artistic logos and information on the bottom or the reverse of the card which advertised the photographer or the photography studio's services." Source: http://cabinetcardgallery.wordpress.com/category/cabinet-card-history/

Annual Variation in Bee Community Structure in the Context of Disturbance (Niagara Region, South-Western Ontario)

This study examined annual variation in phenology, abundance and diversity of a bee community during 2003, 2004, 2006, and 2008 in recovered landscapes at the southern end of St. Catharines, Ontario, Canada. Overall, 8139 individuals were collected from 26 genera and sub-genera and at least 57 species. These individuals belonged to the 5 families found in eastern North America (Andrenidae, Apidae, Colletidae, Halictidae and Megachilidae). The bee community was characterized by three distinct periods of flight activity over the four years studied (early spring, late spring/early summer, and late summer). The number of bees collected in spring was significantly higher than those collected in summer. In 2003 and 2006 abundance was higher, seasons started earlier and lasted longer than in 2004 and 2008, as a result of annual rainfall fluctuations. Differences in abundance for low and high disturbance sites decreased with years. Annual trends of generic richness resembled those detected for species. Likewise, similarity in genus and species composition decreased with time. Abundant and common taxa (13 genera and 18 species) were more persistent than rarer taxa being largely responsible for the annual fluctuations of the overall community. Numerous species were sporadic or newly introduced. The invasive species Anthidium oblongatum was first recorded in Niagara in 2006 and 2008. Previously detected seasonal variation patterns were confirmed. Furthermore, this study contributed to improve our knowledge of temporal dynamics of bee communities. Understanding temporal variation in bee communities is relevant to assessing impacts caused on their habitats by diverse disturbances.