This contribution explores the reading of Rosenburg’s ‘Tradition of the New’ on the current state of Dubai, with the aim of investigating the relationship between the ‘New’ and the city’s ‘identity.’ On one hand, historicity is intrinsic with identity and evolution. On the other hand, the mundane persistence of the present has its downfalls in temporality. Thus, a loop between reality of things and mechanical simulation of the future converges into a crisis of infinite search of a self-image characterized by aesthetic variety, alluding to a homogeneous life in a paradoxically nonlinear genealogy. The work of Deleuze and Guattari, ‘Anti-Oedipus,’ constructs the body without organs (BwO) reducing the representation of the state of being as free of preconceived identities. Explicitly, this would seem like an opportunity to construct a function open to possibilities and creativity, free from traditions and hierarchical structures, potentially redefining traditional aesthetic paradigms. Hence, aesthetics is blurred within the framework of this idea; however, the profession of architecture is deeply rooted with consideration of the body in the space, ‘action architecture,’ implying the meaning of identity beyond forms, structure, and styles. This endeavour promises to offer new insights into how a global city like Dubai shapes its identity amidst rapid modernization and cultural flux. While existing literature has explored critiques in this area, gaps persist when considering the unique Dubai context, which our research aims to address comprehensively.