Even before its official opening in May, Chef Ann Ahmed’s Gai Noi announced its entrance as a unique and proudly Laotian restaurant with a stunning procession of monks making their way to the Loring Park location for the alms-giving ceremony, one of the most ancient traditions in Laos. The no-reservations casual-dining restaurant opened in the location formerly occupied by the southern eatery 4 Bells—and before that, Joe’s Garage—and has since become a sensation.
On the other side of Gai Noi’s iron entryway doors is a beautiful homage to Luang Prabang, a UNESCO World Heritage Site known for its Buddhist temples. Ahmed extends the offering of her home country’s cuisine through bold flavors and an interior designed by Minneapolis-based Shea Design. We sat down with the James Beard Award–nominated chef to learn about the cultural design influence that transports diners from the Twin Cities to the center of Laos.
Q: What influenced the design decisions of a more pronounced presence of wood, porcelain, terra-cotta, and wood at Gai Noi versus the more upholstered seating at Khâluna?
A: My inspiration for Gai Noi is Luang Prabang, a UNESCO World Heritage city, so I wanted to bring many elements of Luang Prabang to Loring Park through the shutters and the terra pavers. The former 4 Bells had such good bones, and it was very well built. We wanted to keep as much of that as possible. We kept all the existing wood and added contrasting wood tones to enhance it. We removed the booths and replaced them with large communal tables to foster gathering and sharing. Our large blonde oak tables are sourced from Restoration Hardware. The blue-and-white pottery pieces are from my personal collection; I love collecting blue-and-white porcelain. My great-grandfather was a Chinese merchant that settled in Laos, and Laos was colonized by the French, so I wanted Gai Noi to have that Indochine flair, French Colonial style.
Q: We have to talk about that incredible architectural bar on the main floor. What materials went into that, and how does its design tie back to Laotian culture?
A: I felt if I wanted to transform the old 4 Bells restaurant, I must give the bar a face-lift. I really pushed the Shea Design team to remove the old bar completely and build something special. With the help of my inspiration board, Shea was able to design our current bar, which was custom-built by Interscapes, a local carpentry business. I feel like this piece is very symbolic of the Indochine era and the well-preserved old town of Luang Prabang.
Q: There are so many deliberate details throughout the space that communicate a more casual, communal dining experience, from the red and yellow tins on each table to the airy, lush dining rooms draped with suspended plants.
A: I wanted to highlight Gai Noi as being casual by being able to help yourself to silverware. I think this act really instills the casual-dining experience to the guests. I think the tins give off a playful, casual vibe. I wanted to transport my guests to the tropical climate of Laos. I wanted to take advantage of the natural sunlight on the rooftop, and I wanted my guests to feel like they’re at home and to be comfortable, and I think the plants help create that vibe.
Q: Payton Kampschroer has been a quiet force behind curating the events and table settings for both Khâluna and now Gai Noi. Can you talk about your working relationship and collaborative process for bringing the vision of the private rooms in both restaurants to life?
A: Payton and I are a great team because Payton is so organized and helps bring my creative ideas to life. I can tell Payton what’s in my head and how I envision something, and he’s able to put it together. Payton understands my aesthetics, and we both love taking care of others. Every detail matters to the both of us. It’s not my space; it’s our space.
Q: The third-level private dining room is its own intimate oasis, with a stunning mix of blue porcelain, birdcages, chandeliers, and artwork. Where did you and your team source these objects?
A: The room itself already existed; I simply gave it a makeover. New paint color, new light fixture, new furniture, and sourced vintage decorative pieces. The table is from Restoration Hardware; the chairs are from Rypen Furniture. The blue porcelain is from my personal collection. The birdcages—I had to do a lot of online vintage shopping. The artwork I commissioned when I was in Luang Prabang. I asked the artist for something special, and he painted with coffee grains. While he painted, I was able to learn how to make the paper he painted on, which is made from the bark of trees naturally growing in the forest of Luang Prabang.
Q: Birdcages abound throughout the restaurant: as fixtures suspended from the ceiling, and the spindles of the cage are mimicked in the railings throughout the restaurant. What is their significance to you?
A: For the most part, I wanted to create a vintage/historic vibe for Gai Noi, and to me, birdcages evoke that vintage Indochine aspect. Birdcages were a huge part of the Ming dynasty history. To me, these birdcages without birds symbolize breaking free—free to create; free to feel what I want, not what is expected of me.
This interview has been edited for length and clarity.