If you Google "ukulele soundboard bracing" and look at "Images" you'll see lots of different ways of bracing a soundboard.
Apart from the transverse braces above and below the soundhole, for a soprano, the most commonly used pattern is probably just a bridge patch. For a concert its probably a patch and one or two fan braces and for a tenor a patch and 3 fans. But among all these possibilities there are many without a bridge patch.
The soundboard needs to be light and of the correct flexibility/stiffness. It also needs to be strong along the length of the box to counter the pull of the strings. So bracing is about achieving the required reinforcement for minimum weight whilst also enhancing transmission of sound across/along the board. Different bracing patterns enhance different modes of vibration and hence the sound of the instrument.
For many a bridge patch (with grain running at right angles to the soundboard) is a key element of bracing to assist in strengthening and transmitting sound across the soundboard.
There's much variation in all elements of bracing. Some will use a long, narrow and thin patch: others a shorter, wider thicker patch ....etc. Its the same with fans: some will use same height along the fan, others have a high point below the bridge or between the bridge and the soundhole.
To summarise, a bridge patch may be part of the whole soundboard bracing. Its presence or absence will determine the requirements for the rest of the soundboard bracing.
As an amateur maker, soundboard bracing is something with which I am constantly experimenting.